media storytelling case study

How to Create an Effective Case Study

In our last blog, I introduced the concept of story banks and how they can help you apply the principles of storytelling to your case studies. This month, I’d like to dive deeper and illustrate exactly how to craft a compelling, story-driven case study for your business.

I view case studies as storytelling with a clear purpose: to tell the story of your customer’s experience to increase interest, inspire confidence, and generate leads. This is an opportunity for you to show off the benefits of your product or service by telling the stories of real people whose lives have been improved by what you offer.

Using storytelling in your case studies is more effective than simply presenting facts and data, and it’s a great way to make your case studies stand out. The key, however, is making sure that you’re not just writing about how remarkable it was that something happened to your customer. Rather, your story should capture why that event mattered (or could matter) to someone else, too. Ultimately, you tell a story for the audience, not the narrator.

Making an emotional connection with your audience

There are many benefits to be gained from combining storytelling with case studies. One is that storytelling allows your prospects to see inside your customer’s organizations and staff in a way they may not have known was possible.

Stories allow for some humanizing aspects to come through, which only helps garner more interest in your product or service. It makes it much easier to establish credibility since storytelling has an emotional appeal that builds trust and empathy with your audience.

Remember, people like to read about other people’s experiences that mirror their own. Storytelling helps you achieve this by giving your audience a “hero” or protagonist – someone like themselves – whom they can learn from and relate to.

No matter what the application, storytelling is most effective when it focuses on the transformation of people. Telling a tale of change in the face of a struggle helps you empathize with your audience, who undoubtedly feel the same way your case study subject once did.

Think about it: Have you ever struggled with a problem and felt like there was nowhere to turn? As humans, we all have moments in life where we feel like nobody understands our pain – but something magical happens when someone does understand.

When you use the right stories, your potential customers don’t have to wonder what that magical moment would be like. By reading a story-fueled case study that reflects their own struggles, they can find out how someone like them approached the same problem and the role your company played in solving it.

How to use storytelling in your case studies

During my time at Microsoft Dynamics helping the company with case studies, I came to realize that these documents are often horrific, hard-to-read, self-serving, long-form content.

Instead of wasting valuable real estate talking about your company, give your prospective customers an engaging story about people and companies like them who have found success working with your business. To do this, you’ll want to consider a few fundamental storytelling basics.

Focus on the hero and their transformation. When planning your case study, focus first on the people involved and how they were transformed in a way that made their life and business more successful. Avoid a focus on your company or product as the protagonist or main character of the story. At the most you and your product are a guide .

Identify key topics and themes to focus on. This could be how your product saves time, inspires peace of mind, or creates a fantastic experience. Pick one and focus on it throughout your case study. This will also help you choose a metaphor that will help shape your theme.

Break down your key message into small, story-driven chunks . Frame these stories in terms of the transformation your product or service enables. If your product saves time, share some stories about how a customer used the product and saved time within their own life. If it’s about peace of mind, then share stories about how your product reduced or eliminated concerns and risks with which that they were dealing. If it’s about customer experience, craft a story about how your customer moved from a poor experience to a good one.

For each of these “micro-stories”, you can use our 3D StoryTM framework:

Desire: What were they trying to achieve?

Difficulty: Did something get in their way?

Denouement: How did they untangle this messy knot?

Telling a great story within your case studies doesn’t have to be complicated. If storytelling doesn’t come naturally, seek out a metaphor or analogy that can serve as the central theme of your customer’s experience.

Tips for crafting a compelling case study

When you take the time to create a powerful, engaging case study story, the more likely it is that a prospective customer will want to do business with you. With this in mind, here are a few essential tips that will help you create a case study that converts.

Know your target audience and which customer story will resonate most with them.

Together with your sales and customer success teams, define exactly who your intended case study reader is and which of your existing customers most closely resembles that target audience’s current desires and difficulties. Ideally, you’ll want to showcase a customer with a clearly-defined outcome or metric. But keep in mind that facts and figures on their own are not engaging. Leverage a customer story that can take your audience on a journey with a beginning, middle, and end, featuring a main character who has a problem and finds resolution.

Help prospective customers to see themselves in your case study subject.

A powerful story motivates and inspires. Show your prospect how they can be like the customer in your case study. Remember, a hero isn’t a hero at the beginning of the story – at that stage, they are often in a difficult place. Show the transformation they went through to get to a better place. You can start by conveying how bad things were before they took action, then the steps they took, and finally, how their life was improved afterward. Share your example customer’s personality and describe their experiences in a way that is believable and authentic. Make them as relatable to your target audience as possible.

Focus on the improved outcomes, not your company.

Consider what your customer’s “denouement” was and what was improved about their life after working with your company. This goes beyond how your product or service helped them. Talk about how their overall life changed for the better and how making the simple change to use your company impacted them in many positive ways. Your company shouldn’t be the star of the story; instead, you’ll need to weave yourself in at exactly the right moment and in measured doses to ensure the case study is genuinely focused on the customer, not on you.

Create a plan to ‘slice and dice’ your case study into other forms of content.

Crafting a case study takes time and effort, but the good news is, it can be repurposed across multiple platforms to reach the widest audience possible. In addition to a downloadable “whitepaper”-style document, your case study can also become a blog post, social media content, a video, a podcast episode, and more.

When you take this approach, you can put your case studies to work for your business in many more ways than the traditional, boring, feature function “problem, solution, benefit” case study.

Remember, storytelling’s power lies within its ability to convey an actionable, memorable message and inspire people. Make sure your case studies are benefiting from that awesome power. 

Looking to tell a story in your next pitch by using a case study? Book a complimentary consultation with Go Narrative to learn how to apply our Storytelling for Action™ playbooks to your business’s marketing and communication efforts.

How to Win at 'Win-Loss' Storytelling

How to make case studies and story banks work for you.

Corporate Storytelling Examples from Well-Known Brands

In an era of intense competition, how can you make your brand stand out from the rest?  You can start by telling a story that conveys your values, shares your history, and engages your audience.

Check out these brand storytelling case studies to see what you can learn from other brands.

Case Study 1:  Burt’s Bees

Burt’s Bees makes effective use of storytelling to market themselves as a responsible, community-oriented company who promote an environmentally-friendly lifestyle. They have released several videos in which Burt, the founder, shares his outlook on life.

You can even visit Burt’s cabin and explore his home online. By inviting the consumer to appreciate Burt as a human being, the company inspire trust and loyalty. The online simulator also adds an element of fun and stimulates the viewer’s imagination.

Key Lessons:

• Consumers respond well to brands with a human face. If you have a charismatic founder or ambassador, make them part of your storytelling campaigns.
• Interactivity is also a key weapon to keep in your storytelling arsenal.

Case Study 2: Hinge

Hinge set up a website – thedatingapocalypse.com – featuring a video exploring this theme in more depth. The two-minute animation depicts a desolate young man trying to find love in a dystopian dating-themed fairground, before exiting via a door branded with the Hinge logo and finding a suitable match in an idyllic landscape.

• Make reference to your audience’s personal needs and vulnerabilities as you tell your story.
• Help them visualize how your products and services will transform their future.
• Show that you empathize with their concerns and want to offer thoughtful solutions so that they can have their own happy ending.

Case Study 3: Warby Parker

Their website also profiles seven Warby Parker customers, most of which work in desirable, creative professions. These profiles not only humanize the product, but also lend the range an aspirational edge. It is easy to see how the glasses might appeal to young creatives with big dreams and small budgets.   

Finally, the website also provides an insight into the company’s charitable work. This instantly makes Warby Parker appear more likeable, and makes consumers feel positive about their money.

• Simple storytelling with a feelgood message inspires consumers.
• Sharing your history and manufacturing processes gives the impression of transparency, and shows that your business is run by real human beings.
• Stories can inspire longing and ambition in your customers, encouraging them to buy into your brand’s image.

Case Study 4: IBM

IBM has partnered with Melanoma Institute Australia and MoleMap to help develop and deliver its Watson technology, an AI innovation that can help clinicians diagnose melanoma. On their website , IBM explains that Watson is still learning how to identify melanoma by processing medical images and notes.

The company urges consumers to provide their photos and stories relating to melanoma to “join Watson in the fight.” They set up the hashtag #outthinkmelanoma to help people share information. To date, people from all over Australia have submitted data. IBM’s site also features real-life stories from people taking part in the project.

• Linking your product with worthy causes provides a great opportunity to tell stories that capitalize on people’s lived experiences and emotions.
• By making it clear to your audience that you are working with non-profit organizations, you will improve your reputation.
• Social media campaigns further increase positive engagement.

Case Study 5: Malteasers

https://www.youtube.com/watch?v=mx12fTwOQl0

Mars won three Marketing Society Excellence Awards in 2017 for its “Looking on the Lighter Side of Disability” campaign. The company produced a series of adverts featuring actors with disabilities navigating awkward social situations that affect everyone.

In each advertisement, a character with a disability is shown relating an amusing anecdote while enjoying Malteasers with friends. The campaign was praised for its positive portrayal of people with disabilities. It prompted debate in several public forums, including the British House of Commons.

• Taking a socially responsible attitude towards storytelling can earn you a reputation as a modern, inclusive brand.
• Using everyday anecdotes that lots of people can relate to will communicate to the audience that you are warm and approachable.
• Do not be afraid to use humor when telling stories.
• Be willing to take a few risks.

More Brand Storytelling Tips to Keep in Mind

Test your campaign with a small group of users before scaling it up. Draw up a buyer persona. Who are your ideal customers? How old are they? What kind of language do they use? What are their needs? It may take a few adjustments before you create a story that captures their attention.

If you are not comfortable writing copy or shooting your own videos, outsourcing will be well worth the investment. A homespun aesthetic can be endearing, but try to err on the professional side where possible.

If you are tailoring your storytelling campaigns to different regions, be sure that they fit with the local language and culture . Always use a translation service such as PickWriters for an awesome result. To quote the CEO, “It’s never been so essential that your copy proves compelling to audiences all over the world.”

Finally, storytelling will only work if it is authentic. There is no point in crafting beautiful content for your brand if it isn’t aligned with your true values. Take your time deciding what message you really want to say, and stay true to that vision as you construct your next story.

Want more? Get more brand storytelling examples here.

Kristin Savage nourishes, sparks and empowers using the magic of a word. Along with pursuing her degree in Creative Writing, Kristin was gaining experience in the publishing industry, with expertise in marketing strategy for publishers and authors. Now she had found herself as a freelance writer. She observes with a special interest how the latest achievements in media and technology help to grow readership and revenue and shares her opinion. You can find her on Facebook .

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9 October, 2018

The Hero’s Journey | Using Elements of Storytelling for Better Case Studies

• Content Marketing

Derek Blaszak

Director of Digital Marketing

Storytelling – it’s one of those things that separates us from the animals. Sure, honeybees do dances that tell their buddies where to find flowers, and dolphins seem to have complex ways of communicating, but no creature can craft a story like the homo sapiens.

We tell stories that make us laugh, cry, or feel scared, that inspire and teach us lessons. In marketing, we often use storytelling as a form of proof and persuasion.

One of the most effective uses of stories in a content marketing strategy is the case study.  That’s because case studies are literally true stories about what your organization does and how it serves your customers and clients.

Case studies are an excellent way to show how your company brings value using a real-life example often backed by statistics. Plus, they have a definitive beginning, middle, and end, including a problem solved by your product or service.

If your case studies are falling flat, or if you’re struggling to get your customers to agree to participate and give testimonials, it might be because you’re telling the wrong story.

There is a way, however, to structure your case studies with storytelling elements that make them more compelling and help them resonate with your target audience.

To help us out, let’s get some storytelling advice from two very different people: a renowned literature professor and the creator of offbeat television shows with cult followings.

The Hero’s Journey | A Blueprint for Powerful Storytelling

Joseph Campbell is responsible for developing the concept of the monomyth, which he explains in detail in his book, The Hero with a Thousand Faces. While studying mythology during the 1940s, Campbell observed that there were striking parallels between stories told across time and cultures.

In fact, Campbell believes the majority of the most-beloved stories ever told follow a similar pattern in which a hero is called to adventure, goes on a journey into a strange new world, faces a series of challenges, and eventually returns home changed.

This pattern became known as “The Hero’s Journey,” and not only will you find it in stories from the Bible, Greek mythology, and Native American lore, it’s also the structure used for many of our favorite films . It’s the basis for nearly every super hero story, sci-fi epic, and Disney movie.

The Ted-Ed video below explains Campbell’s idea of the monomyth and how it applies to some recent and familiar stories.

If you’re writing a novel or a screenplay, following Campbell’s original 17-step formula for a heroic journey works well. If you’re writing a short case study, however, you’ve got to distill your story down to its core, especially if you want it to fit on a one-page PDF.

Not to mention, unless you’ve got a killer imagination, it’s tough to make a B2B case study that ties into concepts like “Belly of the Whale,” “Apostasis,” and “Atonement with the Father.”

Thankfully, there are simplified versions of this template, including one that breaks it all down into eight storytelling elements. It comes from Dan Harmon , the creative mind behind irreverent comedy shows, including Community and The Adventures of Rick and Morty .

Harmon’s work tends to resonate with a certain type of audience, but his dedication to this story structure is impressive. He calls his version of the Hero’s Journey, “The Story Circle.” Here’s how it looks compared to Campbell’s more complex outline:

Dan Harmon’s Story Circle

Watch the video below to hear Harmon explain his streamlined approach to The Hero’s Journey in his own words, using an episode of Rick and Morty as an example.

Harmon’s Story Circle has a character with a need or problem who leaves the normal world behind, goes on a journey to search for the solution to that problem, finds it, pays a price, and returns changed.

You can probably already see how that approach would work for creating a case study that also has a strong story. Every case study has a problem that gets solved and brings positive change through some sort of process or journey to implement the solution.

But … there’s something that many case studies get wrong.

It happens at the very top of The Story Circle, and because of this crucial mistake, the rest of the story gets thrown off course, completely missing the mark.

The Problem with Most Case Studies

The first step in Harmon’s Story Circle is “You.” That’s the reveal of the main character.

When we read a book, watch a movie, or listen to any type of story, we identify with the protagonist. It doesn’t matter if the main character is the opposite gender, living 500 years ago, or a talking raccoon, we put ourselves in the main character’s shoes when we experience a story.

Think about the main character in your case studies. Who’s the hero we’re following? If your case studies make your company the hero, you are missing an opportunity to tell the right kind of story. In this case, “You” really shouldn’t be you.

Potential clients and customers will find it much easier to relate to your actual clients and customers, and that’s who the hero needs to be. A story that puts your company, or its products and services, at the center of a journey may still be interesting to read, but it won’t have the same impact as a story about your customers. Plus, telling impressive stories about yourself just sounds like bragging.

So, where does your company fit in the case study story? There are a lot of great places, and it may depend on the story being told, your industry, or the products and services featured in the case study.

For example, your company could be the one calling the hero to an adventure, encouraging them to challenge the status quo and take a risk on something new.

Your company could be offering what the hero is seeking on the journey, the thing that fulfills the need. Or, what you’re offering could be the treasure they acquire before they return “home” as the hero.

Heroes typically meet people and form partnerships during their journeys. In many case studies, it’s a good idea to position your organization as the trusted mentor or a sidekick who guides the hero and helps them out during the journey. Or, perhaps the solution you provide is the secret weapon a potential customer needs to take on a challenge.

The point is, even though potential customers may desperately need your help, they don’t want to see themselves as the damsel in distress in need of rescuing. They want to be the one who saves the day.

It’s called a “Buyer’s Journey” for a reason. There is a story behind every purchase decision, and it’s their story, not yours. Case studies can be a lot more than an explanation of key features of what you offer backed by data and a quick quotation from the customer.

They can be emotion-driven stories that cause prospects to say, “I want to buy from these guys, because they’ll help me get through this problem and be the hero.”

Your Call to Adventure – Start Telling Better Stories

Does your company need to take a new approach to marketing? Are you searching for solutions that help you reach prospects in this strange new world of digital marketing, social media, and content creation?

It’s time to set out on a journey to change the way you tell stories. At Element, we believe it’s essential to start with a strong understanding of your audience and build from there. That’s why research and persona development are key aspects of the content marketing strategies we develop for our clients.

Every organization has stories to tell. A lot of ad agencies boast about helping you tell your story. But, that’s not the only story you should be telling, and it may not be the most important one either. You need a marketing partner that can craft the right stories for the right people at the right time. You need people who can write like experts for your industry . You need secret weapons in your holster and trustworthy sidekicks by your side on your quest to grow your business.

Element has a team with the talent and skills to make your marketing efforts shine. Whether you need help supporting your sales staff and acquiring leads, recruiting new employees , or creating a unique company culture, we lay out a customized marketing strategy and find the best places to complement your hard work.

If you’re up for an adventure, we’re down to talk about where Element fits. Contact our agency today and let’s start the journey.

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Future of animation

What is transmedia storytelling theory to practice +examples & case studies.

Table of Contents

Once upon a time, there was a fairy tale about a Little Red Riding Hood.

The main characters are the big bad wolf, Red Riding Hood, grandma, and the hunter.  The story revolves around how the wolf distracts the Little Red Riding Hood on her way to grandma’s house. After eating the grandmother, the wolf dresses in her clothes and waits for the girl to arrive. 

The above description is the storyline we’re all familiar with; whether in books, feature films, cartoons, or comic books, the same story occurs in a different entertainment medium.  But have you ever thought about other storylines that explain a new aspect of the main story?

Check out our  brand character service page to see how we are helping brands enter the metaverse using a brand character and transmedia storytelling. 

What is transmedia?

Transmedia storytelling is a technique of telling a single story or story experience across multiple platforms and formats using current digital technologies.

Let’s say we want to know more about the wolf—what are his motifs, and how did he end up the way he did? or w hat happens in a parallel universe where the Riding Hood rejects the wolf, creating a new world of experiences?

In all these alternative universes, a new story is born, which borrows the universal rules and aesthetics of the original story but differs in how the plot and characters are incorporated in the story. This is where transmedia comes into play.

A transmedia story resides across multiple mediums and forms of storytelling. The story world and the core concept can have subplots, experiences, and nuances that translate beyond one medium. 

In other words, a transmedia story is essentially a story puzzle that invites the audience to engage with the elements of the story either by actively or conceptually joining gaps that might arise. It can be fictional or even non-fiction.

What is the difference between a traditional story and a transmedia story?

Something that could make a story transmedia is to have depth in each of its aspects. When a story is deep, it allows you to analyze each part of it from a different perspective with different characters that one can create. And we can bring each of these perspectives to the fore through different transmedia technologies to dig deeper into the story you are creating.

In a traditional story, the whole is less than the sum of the parts, which could lead to dissatisfaction with consuming the media. On the other hand, in a transmedia franchise, the whole is more satisfying than the sum of the parts, evoking a sense of euphoria of collecting different pieces of the story puzzle.

Henry Jenkins Transmedia

Jenkins is the Provost Professor of Communication, Journalism, Cinematic Arts and Education at the University of Southern California. He arrived at USC in Fall 2009 after spending more than a decade as the Director of the MIT Comparative Media Studies Program and the Peter de Florez Professor of Humanities. If you Google the term “transmedia,” you probably come up with Henry James’ name on different websites and resources. In his words:

“Transmedia storytelling represents  a process where integral elements of a fiction get dispersed systematically across multiple delivery channels  to create a unified and coordinated entertainment experience.”

Some misconceptions and myths about transmedia

•  Transmedia is a new phenomenon .

When you first hear the word “transmedia,” you might think of it as a new occurrence in the world of media. However, the first signs of using transmedia date back to the time of the bible. In effect, m any people were illiterate during the early ages, and narratives were passed on verbally through “live theatre,” where they were acted out or illustrated. Eventually, these live performances turned from one form (cave paintings) to another one (theatre).

• Transmedia is the same as multimedia .

When talking about multimedia, different forms of communication such as text, video, pictures are combined to become a stand-alone medium. Transmedia can be only text, which is transformed into a film or a video game. To put it simply, we’re not concerned with narrative in multimedia.

• Transmedia is a noun. 

People sometimes use transmedia as if it’s a form of a noun that has a specific meaning on its own. But in truth, the term is an adjective that modifies a noun. That’s why we tend to use storytelling with transmedia because stories are transformed from one medium into another. 

3 Elements of effective transmedia narratives

A good story is the backbone of a transmedia experience. You have to keep in mind that tales in a transmedia context are quite different from traditional storytelling. Usually, a narration is created, and the same story is used in various formats. However, in a transmedia story experience, the main story is the spine of different child stories within the same world and setting.

Want to come up with stories? check our guide on idea creation in animation 

Digital technologies have significantly increased the opportunities to tell stories in different, more engaging ways and reach a diverse global audience.

We can use transmedia narratives in different channels like Movies , books , comics , toys , games , interactive web experiences , social media communities , mobile devices , theme parks , and augmented and virtual reality .

Every story needs someone to hear it, see it, experience it, evolve it, share and perpetuate it. Transmedia is so versatile that a person can choose the complexity and depth of their engagement depending upon how much effort and time they wish to spend exploring different transmedia story elements.

On the one hand, an audience may experience a completely different aspect of a story world than another – their stand-alone experience is a complete story in itself. Still, it may also draw the audience into exploring other related story elements via different technological platforms.

Transmedia storytelling examples in entertainment

These days, more and more transmedia stories are emerging in new entertainment channels. Books are becoming the source of inspiration for video games and tv series thanks to transmedia storytelling. 

Below is a list of all the world-renowned transmedia stories that have found their way into various platforms like comic books, video games, and tv series or feature films: 

• Harry Potter
• Marvel Comics

The Witcher game series, a case study about the influence of transmedia

Initially, The Witcher started out as a Polish fantasy series about the mysterious journeys of a monster killer who possesses superpowers. The first edition of “The Witcher” short novel was published in 1992 and translated into English in 2007.   Andrzej Sapkowski  is the author of eight novels that tell the tale of a medieval fantasy world.

Later on, the books were adapted into a film, and into six comic books, made into a television series and one of the most successful video games of all time with over 50 million copies worldwide. 

What’s more interesting is that Lauren Schmidt Hissrich is creating The Witcher series for Netflix. Season 1 and 2 of the Witcher series has received such positive reviews that It is now renewed for season 3!

The Witcher is a perfect example of transmedia storytelling as it was channeled through various mediums.

Dream Farm Studios, animation production, and our transmedia storytelling projects

We are a character-driven animation studio creating both 3D and 2D animation series for a wide range of applications in the entertainment industry. While we love creating 2D and 3D animation, we also like to take advantage of the power of transmedia in our services. 

Recently, we partnered with great clients to make a new animation based on a mini-series book. 

It was late July 2020 when Austin Ronson Khemraj, the author and owner of Austin Art Productions, approached us to create 2D animated short films. Austin, who has published several kinds of books, had the idea to turn the books into short CGI 2D animated films, and the first book to have the plan executed on was TOUCAN’S TEARS.

For the animation method, Austin had provided some animation references that were in line with his vision for the project. Taking the references into account and studying the appropriate styles, we chose the frame-by-frame hand-drawn animation method.

Fortunately, the animation is going to have its chance in international animation festivals , and TOUCAN’S TEARS is going to be the beginning of a long transmedia franchise. If you have the same project in mind, take us a visit to the 2D animation studio to review our work and let us know what you have in mind.

Over to You.

This article is made up of two parts. In this one, we explored the essence of transmedia and how it’s different from conventional storytelling. Also, we broke down key elements of a compelling transmedia experience, and finally, we mentioned some noble examples of transmedia in the context of entertainment. In the next part, we’ll take a look at how transmedia has become the driving force behind successful branding and marketing campaigns and services in the 21st century. 

Arash Naghdi

Arash is the equivalent of Buzz in Toy Story when he goes to infinity and beyond, but never comes back! responsible for our blog and content marketing efforts, he always delights the audience with his tenacity and passion in creating the extraordinary.

This is a great piece of information. I really enjoyed reading it. Please talk about transmedia marketing in advertising.

I’m thrilled! thank you for such kinds words.

Something that fascinates me about transmedia is that it begins a journey that never ends. There are characters and spinoffs that continue the storyline long after the original is out.

You’re right Nikhil, one of the most important things about transmedia is the fact that it never ends, you can use the story in another form of medium or even in a marketing campaign. Truly a magnificent phenomenon.

This content is inspiring. Thank you!

Your most welcome Nazanin.

Hello there to Dream Farm Studios, I have not seen a guide for transmedia this good for a long time. Thank you for putting down time and energy to write it.

Thank you, Jake. It’s an honor to hear that. glad you liked it

I have come across this as other names but now I see it’s called transmedia storytelling. I have one question though, how can start creating an animated series on a current IP?

Hey Darius, that’s a great question. First, you need to get in touch with the authority of that IP to see if it’s possible to make a new piece. You can talk about other matters right on.

Thank you, I enjoyed reading this valuable post.

Hey, Kim! Great to know!

Loved reading this, very interesting and informative.

Lisa, I’m glad this article was helpful to you 😊

• 3D ANIMATION STUDIO
• 2D ANIMATION STUDIO
• ANIMATED COMMERCIAL
• ANIMATED SERIES
• GAME TRAILER
• CHARACTER DESIGN
• BRAND CHARACTER DESIGN
• IP GENERATION
• SCRIPT DOCTOR
• SCRIPT WRITING
• SCRIPT CONSULTANT

Transmedia Storytelling: A Case Study with Alice’s Adventures in Wonderland

• First Online: 10 July 2020

Cite this chapter

• Patrícia Ferreira 10  

Part of the book series: Springer Series in Design and Innovation ((SSDI,volume 8))

717 Accesses

School cannot ignore the fact that the expansion of technology has changed the way we interact with other people. This reality and the use of technology to motivate the students, causing them to become producers of their own learning, makes them more confident. One of the tools that can contribute to this paradigm is Transmedia Storytelling. Technology can be an important tool in increasing students’ motivation in classroom context. In this way, in the face of the mobility associated with digital technology, learning does not have to stop at the end of class. It is possible to students to have a greater freedom, through the use of several platforms, so they can access activities proposed by teachers. This new paradigm, which includes technology in the context of the classroom, can contribute to improve pedagogical practices. A case study was carried out in order to verify the true impact of a Transmedia path in classroom environment, where Transmedia Storytelling potentialities were explored by students with reading and pedagogical activities.

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Ferreira, P. (2021). Transmedia Storytelling: A Case Study with Alice’s Adventures in Wonderland. In: Martins, N., Brandão, D., Raposo, D. (eds) Perspectives on Design and Digital Communication. Springer Series in Design and Innovation , vol 8. Springer, Cham. https://doi.org/10.1007/978-3-030-49647-0_7

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Storytelling with UX Case Studies

Brock Delebreau & Erin Campbell

The traditional portfolio is a confusing space for user experience designers. It’s no wonder too. As if our work isn’t hard enough to explain to others already, rhetorically, the term portfolio carries with it a multitude of connotations. Merriam Webster alone offers five different definitions:

• a hinged cover or flexible case for carrying loose papers, pictures, or pamphlets
• [ from the use of such a case to carry documents of state ] : the office and functions of a minister of state or member of a cabinet
• the securities held by an investor : the commercial paper held by a financial house (such as a bank)
• a set of pictures (such as drawings or photographs) usually bound in book form or loose in a folder
• selection of a student’s work (such as papers and tests) compiled over a period of time and used for assessing performance or progress

I don’t know about you, but I’m not sure presenting a flexible case filled with photos to a potential employer would be the best way for me to talk about my work. Our work isn’t about deliverable. It’s about process. But how does we take our process, from beginning stages of user research to the end product, and talk about it online in a way that sets us apart from others in our field? We thought we’d explore this question in a series of articles, Curating Your Digital Presence . You can find the rest of the series at the links below:

• Showcasing Your Non-Design Work
• Learning From the Best
• UX Digital Presence References & Resources

“Every great design begins with an even better story.” Lorinda Mamo , Designer / Creative Director

If you don’t consider yourself a great storyteller, don’t fret. Like anything else, practice makes perfect. But you better start practicing. The ability to tell a compelling story about your work is the first step to creating your online presence (how we will refer to the tragically equivocal “portfolio”).

In professional speak, a story is often called a case study. Case studies demonstrate your skills within the context of a particular project. Like a good story, case studies allow you to talk about how you got from point A to point B. This shows potential employers how you think and work, not just how you design. It shows them that you don’t need to rely on some sort of magical human centered design GPS to get you where you’re going. You’re an experienced navigator.

There are five key components to a good case study. Your case study should include:

• A project summary: This should be brief. Keep it 3–5 sentences long. Just enough to orient your readers to the project.
• The goals of your project: If you don’t talk about goals, you can’t show how you helped your client meet them. Did you meet the goals? Great! Highlight this. Note that not every goal is met in every project. There might be projects you’ve worked on where goals weren’t met. That’s okay. We’ll talk through this in the next point.
• Challenges you encountered along the way: No project goes perfectly smooth from beginning to end. There will bumps along the way. Don’t try and pretend like there weren’t challenges within your project. Potential employers will know you’re lying.
• The solutions that you designed: Just like with your challenges, don’t try and pretend like your final solutions were the only solutions. Most UX work goes through iterations, so highlight not just what got you to the finish line, but how you got there.
• A bit about your role. The work YOU did is the most important part of the project to highlight. But remember to give credit where it’s due.

While these parts are vital for a successful case study, there are some other important things to remember as you begin to craft your story. The biggest one is to focus primarily on the work you did. Don’t load your case study up with tons of app screens and other designs if you primarily worked on research. While you can share these as part of the overall process, don’t let them drive your story. You need to focus on the work you completed to demonstrate your skill set to potential employers.

Another thing, especially important for people newly entering the UX field, is to share personal takeaways from a project. It’s good to provide the data that shows how your work affected the client’s bottom-line, but it’s equally important to highlight the skills and knowledge you gained along the way to make you a better professional. Whether related directly to UX or not, takeaways show growth and an effort to strive to be better. And in the end, that’s what it’s all about — the drive and passion to be improve.

By adding case studies to your online presence, you can communicate with employers without needing to directly talk to them. Succinctly telling your stories shows a bit about who you are and how you do work and could be the key to landing that next job.

Written by Brock Delebreau & Erin Campbell

Brock Delebreau & Erin Campbell are recent graduates of the Experience Architecture program at Michigan State University.

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Bridging the Gap: Exceptional Brand Storytelling Case Studies

The power of brand storytelling.

Brand storytelling is a powerful tool that can greatly impact a company’s success and customer perception. By crafting a compelling narrative, businesses can connect with their audience on a deeper level. In this section, we will explore why brand storytelling matters and the benefits it brings.

Why Brand Storytelling Matters

Brand storytelling matters because it allows businesses to create an emotional connection with their target audience. Instead of simply promoting products or services, storytelling enables brands to share their values, purpose, and mission in a more engaging and relatable way.

By telling a story, brands can differentiate themselves in a crowded marketplace and stand out from competitors. A well-crafted brand story can evoke emotions, capture attention, and leave a lasting impression on customers. This emotional connection helps build brand loyalty and fosters a sense of community and trust.

Furthermore, brand storytelling enables businesses to humanize their brand. It allows them to showcase the people behind the brand, their journey, and the impact they seek to make. By revealing the human side, brands become more relatable and approachable, creating a sense of authenticity and building stronger connections with customers.

Benefits of Effective Brand Storytelling

Effective brand storytelling offers a multitude of benefits for businesses. Some key advantages include:

1. Memorable and Engaging : A compelling brand story captivates the audience, making the brand more memorable and increasing engagement. It enables customers to connect with the brand on a deeper level, leading to stronger brand recall and recognition.

2. Differentiation : Brand storytelling sets businesses apart from competitors by highlighting their unique values, experiences, and perspectives. It helps create a distinct identity that resonates with the target audience, making the brand more memorable and recognizable.

3. Emotional Connection : Brand stories tap into emotions, creating a strong bond with customers. By appealing to their aspirations, desires, and values, businesses can establish an emotional connection that fosters loyalty and advocacy.

4. Brand Loyalty and Trust : A well-crafted brand story builds trust and loyalty among customers. It showcases the brand’s authenticity, values, and commitment, creating a sense of trust and reliability.

5. Customer Engagement : Effective brand storytelling encourages customer engagement and participation. It sparks conversations, invites customers to share their own stories, and fosters a sense of community and belonging.

6. Increased Sales and Revenue : Engaging storytelling can lead to increased sales and revenue. When customers connect with a brand on an emotional level, they are more likely to choose the brand over competitors and become repeat buyers.

By understanding the power of brand storytelling and harnessing its benefits, businesses can create a strong and memorable brand identity. The case studies we will explore further in this article will highlight real-life examples of successful brand storytelling and the impact it had on these businesses.

Case Study 1: Brand Storytelling Success

In this first case study, we’ll examine a company that achieved exceptional success through brand storytelling . By effectively weaving their brand narrative into their marketing strategy, they were able to connect with their target audience on a deeper level, resulting in significant impact and growth.

Overview of the Company and Brand

The company in focus is a well-known player in the industry, recognized for their innovative products and commitment to sustainability. Their brand is built around the values of quality, craftsmanship, and environmental consciousness. They take pride in their heritage and the story behind their brand, which resonates strongly with their target audience.

How Brand Storytelling Was Implemented

To implement their brand storytelling strategy, the company focused on creating compelling content that showcased their values and the story of their brand. They employed a multi-channel approach, utilizing their website, social media platforms, and email marketing to deliver their brand story to their audience.

Through engaging blog posts, videos, and social media campaigns, they shared the journey of their brand, highlighting the craftsmanship and attention to detail that goes into each product. They also emphasized their commitment to sustainability and how their practices align with the values of their environmentally-conscious customers.

To further strengthen their storytelling, they collaborated with influencers and brand ambassadors who shared their passion for sustainability and showcased their products in authentic and relatable ways. This helped to amplify their brand message and reach a wider audience.

Results and Impact

The implementation of brand storytelling had a profound impact on the company’s growth and customer engagement. By connecting with their audience on an emotional level, they were able to build a strong brand identity and foster a sense of loyalty among their customers.

The results were evident in their increased brand recognition and market share. Their storytelling efforts resonated with their target audience, leading to higher customer acquisition and retention rates. Additionally, their brand reputation received a significant boost, as customers perceived them as an authentic and socially responsible brand.

This case study demonstrates the power of effective brand storytelling in creating a memorable and impactful brand. By aligning their brand narrative with their target audience’s values and leveraging various marketing channels, the company was able to solidify their position in the market and forge lasting connections with their customers.

The next sections will delve into additional case studies, providing further insights and key takeaways from successful brand storytelling examples.

Case Study 2: Brand Storytelling Achievement

In this case study, we will explore a brand that achieved remarkable success through effective brand storytelling . Let’s dive into the overview of the company and brand , how brand storytelling was implemented, and the resulting results and impact .

The company in question is a well-established brand in the [industry/sector]. They have a strong presence in the market and a loyal customer base. However, they recognized the need to revitalize their brand and connect with their audience on a deeper level. To achieve this, they decided to leverage the power of brand storytelling.

The brand storytelling journey began with an in-depth analysis of their target audience and market landscape. The company identified the key values, emotions, and aspirations that resonated with their audience. They crafted a compelling brand story that aligned with these insights, highlighting the unique aspects of their products and services.

To effectively communicate their brand story, the company utilized various platforms and channels. They revamped their website, incorporating engaging visuals, captivating narratives, and interactive elements to create an immersive brand experience. Additionally, they leveraged social media platforms, email marketing campaigns, and content marketing strategies to reach a wider audience and foster engagement.

The brand storytelling approach was not limited to external communication. The company ensured that their employees understood and embodied the brand story, enabling them to deliver consistent messaging and experiences at every touchpoint. This internal alignment further strengthened the brand’s authenticity and credibility.

The implementation of brand storytelling had a profound impact on the company. By connecting with their audience on an emotional level, they successfully differentiated themselves from competitors, fostering a deeper sense of brand loyalty . The compelling brand story resonated with customers, resulting in increased brand recognition and awareness.

The brand storytelling approach also translated into tangible business results. The company experienced a significant boost in customer engagement, reflected in higher website traffic, increased social media interactions, and a rise in conversions. This ultimately led to improved sales performance and revenue growth.

Furthermore, the brand storytelling efforts positively influenced the perception of the brand. Customers perceived the company as authentic, relatable, and trustworthy, which enhanced brand reputation and solidified their position as an industry leader. The brand story became a powerful tool in attracting new customers, while also fostering long-term relationships with existing ones.

This case study demonstrates how effective brand storytelling can elevate a brand’s image, engage customers, and drive business growth. By crafting a compelling brand story and implementing it consistently across various channels, companies can create a lasting impact on their audience and achieve exceptional results.

To learn more about the power of brand storytelling and how it can benefit your business, check out our comprehensive guide on storytelling in branding .

Case Study 3: Brand Storytelling Excellence

In this case study, we will explore an example of a company that has achieved brand storytelling excellence . By effectively implementing brand storytelling strategies, this company has made a significant impact on its target audience and achieved remarkable results.

The company in focus is a well-established organization with a strong presence in the market. Its brand is known for its commitment to quality, innovation, and customer satisfaction. The company’s products or services cater to a specific niche and have a loyal customer base.

To establish a strong emotional connection with its audience, the company implemented a comprehensive brand storytelling approach. They carefully crafted and communicated their brand narrative across various platforms, including their website, social media channels, and marketing campaigns.

The brand storytelling strategy revolved around highlighting the company’s core values, mission, and vision. They shared stories that showcased how their products or services have positively impacted their customers’ lives. By sharing authentic and relatable stories, they aimed to create a sense of trust, loyalty, and emotional resonance with their audience.

The company also utilized visual storytelling techniques, incorporating captivating imagery and videos to enhance the storytelling experience. They created compelling content that evoked emotions and effectively conveyed their brand message.

The implementation of brand storytelling had a significant impact on the company and its audience. The following are some of the remarkable results achieved:

• Increased Brand Awareness and Recognition: Through their compelling brand storytelling, the company gained increased visibility and recognition in the market. Their unique brand narrative set them apart from their competitors and made a lasting impression on their target audience.
• Enhanced Customer Engagement: By sharing relatable stories, the company successfully engaged their audience on an emotional level. This led to increased customer interaction, such as comments, shares, and positive reviews. The audience felt connected to the brand and became active participants in the brand’s journey.
• Strengthened Brand Loyalty: The brand storytelling approach fostered a sense of loyalty among existing customers. They felt a deeper connection with the brand and became advocates, spreading positive word-of-mouth and recommending the company’s products or services to others.
• Improved Customer Retention: Through their brand storytelling efforts, the company reinforced their relationship with existing customers. By consistently delivering on their brand promise and values, they retained customers and fostered long-term relationships.
• Increased Sales and Revenue: The emotional connection established through brand storytelling positively impacted the company’s bottom line. The increased brand awareness, engagement, and loyalty translated into higher sales and revenue.

This case study serves as a testament to the power of effective brand storytelling. By implementing a well-crafted brand narrative, the company successfully connected with its audience, fostered trust, and achieved significant business growth.

To learn more about brand storytelling and its impact on business success, refer to our article on successful brand storytelling .

Key Takeaways from Brand Storytelling Case Studies

After exploring various brand storytelling case studies, there are several key takeaways that can help business leaders and entrepreneurs understand the elements of successful brand storytelling. Let’s dive into the common elements, lessons learned, and how to implement brand storytelling in your own business.

Common Elements of Successful Brand Storytelling

• Authenticity : Authenticity is a crucial element of successful brand storytelling. The stories should be genuine, aligned with the brand’s values, and resonate with the target audience. This authenticity helps establish a strong emotional connection with customers.
• Emotion and Empathy : Effective brand storytelling evokes emotions and empathy in the audience. By telling stories that tap into universal human experiences and emotions, brands can create a powerful bond with their customers.
• Consistency : Consistency is key in brand storytelling. The stories should align with the brand’s overall messaging, values, and identity. This consistency helps reinforce brand recognition and build brand trust over time.
• Relevance : Stories that are relevant to the target audience are more likely to capture their attention and leave a lasting impact. Identifying the pain points, aspirations, and values of the target audience is crucial in crafting relevant brand stories.
• Visual and Verbal Communication : A successful brand story incorporates both visual and verbal elements. Compelling visuals, such as imagery, videos, or infographics, can enhance the storytelling experience and make it more engaging.

Lessons Learned from the Case Studies

From the case studies, we can draw several important lessons:

• Know Your Audience : Understanding your target audience is essential for effective brand storytelling. Tailor your stories to resonate with their needs, desires, and aspirations.
• Simplicity is Powerful : Keeping your brand stories simple and easy to understand can have a significant impact. Complex narratives may confuse or disengage the audience, so focus on clear and concise storytelling.
• Storytelling Beyond Products : Successful brand storytelling goes beyond promoting products or services. It focuses on the broader brand values, mission, and the impact it can have on customers’ lives.
• Consistency Across Channels : Consistency across various marketing channels helps reinforce brand storytelling. Whether it’s social media, websites, or advertisements, maintaining a consistent brand narrative is crucial for brand recognition and coherence.

Implementing Brand Storytelling in Your Business

To implement brand storytelling in your own business, consider the following steps:

• Define Your Brand Story : Identify the values, mission, and unique aspects of your brand that you want to communicate through storytelling. Craft a compelling and authentic brand story that aligns with your brand identity.
• Identify Your Target Audience : Understand your target audience’s demographics, interests, and pain points. This will help you create stories that resonate with them and address their needs effectively.
• Choose the Right Channels : Select the appropriate marketing channels to share your brand stories. This could include social media platforms, blogs, websites, or even offline events. Tailor your storytelling approach to suit each channel.
• Integrate Storytelling Into Marketing : Incorporate storytelling into your overall marketing strategy. Ensure that your brand story is reflected in your brand messaging, visuals, and other marketing materials to maintain consistency.
• Measure and Adapt : Continuously monitor the impact of your brand storytelling efforts. Use metrics such as brand recognition, customer engagement, and sales to assess the effectiveness of your storytelling approach. Adapt and refine your storytelling strategy based on the results.

By implementing these steps and incorporating the common elements of successful brand storytelling, you can create a compelling narrative that resonates with your target audience and helps differentiate your brand in the market. Remember, brand storytelling is an ongoing process that requires consistency and adaptation to stay relevant and impactful.

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Structural patterns for transmedia storytelling

Ryan Javanshir

University of Southampton, Southampton, England, United Kingdom

Beth Carroll

David millard, associated data.

All relevant data are within the manuscript and its Supporting Information files.

Transmedia storytelling involves telling a story using multiple distinct media. The remit of stories that fall under this broad definition is vast, consequently causing theorists to examine different phenomena using tools that are not suitable for all forms of transmedia storytelling. The lack of critical tools means we are unable to describe, compare and analyse different experiences using common language. In this paper, we present our model that can be used to identify the fundamental structural features of a variety of transmedia storytelling forms. We illustrate its usage with twenty case studies and discuss how three groups of patterns emerge which can be identifiable in all transmedia stories. These patterns can be used to extend transmedia language and help form taxonomies, by identifying common patterns and their usages amongst various forms of transmedia stories.

1 Introduction

There are many ways we can experience a fictional world, its events, characters and stories in the present day. We not only consume stories from mono-media such as watching films, playing games and reading books, but we also experience them by traversing multiple media, known as transmedia storytelling. In Convergence Culture, Henry Jenkins describes transmedia storytelling as a “process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes its own unique contribution to the unfolding story”[ 1 ].

The complexity that comes with telling stories this way brings with it increased difficulty in understanding the structure of these experiences. We can study films by watching them, perhaps commenting on the mis en scene, their portrayal of characters by their dialogue and the way they act, how scenes are structured and transition from one to the next, or the angle of the camera. We can study games by playing them, considering how the player’s interaction affects the fictional world, the user interface and its role in communicating information to the player, or how the levels and environments are designed. But how do we study a story that is dispersed on multiple media, told using websites that evolve over time, social media and forums that allow role-play, video sharing websites, PDF documents, image websites, games, films, books, comics and television? How do we, in Long’s words, “close read”[ 2 ] such experiences? What is considered to be a transmedia story in the first place?

In a blog post by Andrea Philips, she comments that “that indie art scene that started with alternate reality games is, well, it’s over”[ 3 ], expanding that the concept of transmedia storytelling is clearly not dead, but has changed. The buzzword that gained prominence in 2006, after it was coined by Henry Jenkins, has become an umbrella term used to describe wildly diverse forms such as; escape rooms, mixed reality games, secret cinema, virtual reality experiences, second screen apps, digital exhibitions and complex franchises to name a few[ 4 ]. This idea is reinforced by recent transmedia literature that considers attractions, television, photography, sports, journalism, games and music to be within its remit[ 5 ]. The problem here is that we have defined transmedia storytelling so broadly that it sometimes becomes unfair to justify comparisons between vastly different experiences. How can we compare an escape room to a second screen app when both experiences use different media, progress the story differently and ask for different requirements from their audiences?

1.1 Aims and contributions

Our first contribution involves using our model[ 6 ] to conduct a structural analysis of twenty transmedia stories. Our second contribution encompasses these analyses by identifying metrics that can be associated with what we call patterns, or structural features of transmedia stories. Our third contribution explores how different forms of transmedia storytelling utilise these patterns to achieve certain effects and how well these patterns map to the objectives of a story.

2 Background

In this section, we consider some of the definitions of both transmedia and media before moving on to related work in transmedia modelling and methods for transmedia categorisation.

For the past decade, objects of study that overlap around transmedia have emerged and contributed to the ongoing debate surrounding how these experiences can be defined, and what tools are most appropriate for critically analysing them [ 7 ], [ 8 ], [ 9 ] [ 2 ], [ 10 ]. In their efforts to delimit transmedia stories from other experiences, a multitude of definitions have been made; transmedia fictions[ 11 ], supersystems of transmedia intertexts[ 12 ], digitexts[ 13 ], and multimedia strategies[ 14 ].

Wide definitions such as that proposed by Lisbeth Klastrup and Susana Tosca use the term “transmedial worlds” to describe abstract content systems that use a variety of media forms, where the “audience and designers share a mental image of the “worldness” (a number of distinguishing features of its universe)”[ 15 ]. Elizabeth Evans applies theory from television studies when considers transmedia to use the concept of flow, “a collection of different segments of content that are brought together into a whole larger than any individual segment and guided by an ever present, though potentially invisible, time-based organisational structure” [ 5 ]. Evans identifies flow’s contribution in highlighting “the blurred boundaries that exist between different kinds of television content and how audiences need to navigate their way through those blurred boundaries” [ 5 ]. This brings us to the next question: what is a medium and how can you make the boundaries clearer?

Media theorist Dan Laughey defines media as a “means of communication”[ 16 ]. Though these means can also have within them additional means of communication as Marshall McLuhan argues, “the content of any medium is always another medium”[ 10 ]. Pratten employs a four-layered definition of media. A channel describes the basic sensory communication methods such as audio, media is the embodiment of a channel such as a file, platforms support media such as YouTube, and devices allow the audience to access the platforms such as a smartphone[ 17 ]. However, this does not include media that are technically the same but culturally different e.g. comics use the same channels as novels. In furthering his definition of transmedia, Jenkins comments that each medium of a transmedia story should make “a distinctive and valuable contribution to the whole”[ 1 ]. This technical approach taken with Jenkins’ subjective approach will afford us an extra tool when determining the boundary between one medium and another.

Given these definitions, we can determine a medium by its unique means of communication either technically or culturally, and whether or not it makes a distinct and valuable contribution to the transmedia story as a whole. Subsequently, we consider any story that is told through more than one medium as a transmedia story.

2.1 Related work

The language used to describe transmedia stories, and consequently the taxonomies associated with transmedia, varies across disciplines [ 18 ]. As a result, theories have emerged that attempt to categorize transmedia stories in various ways, through their structural, cultural or thematic categories. Espen Aarseth uses synchronicity as a parameter with which to categorise transmedia experiences depending on when they are published relative to each other, including synchronous experiences that release content at similar times, and asynchronous experiences that release content sequentially.[ 19 ] Robert Pratten identifies three types of transmedia story; franchise, portmanteau and complex, the describe the relationship between the media. The first describes a storyworld that is conveyed in multiple stories using multiple media, the second describes a single story that consists of multiple media and the third is a combination of these two [ 17 ]. Similarly, Andrea Phillips classifies stories depending on how linked the media are to one another, and their narrative dependency[ 20 ]. Focusing on franchises, Jai E. Jung describes a transmedia franchise taxonomy that focuses on individual texts and their narrative-based temporal relation to other texts in the franchise e.g. prequels, sequels, interquels, midquels etc.[ 21 ].

In addition to proposed language, models have been developed that seek to identify features of transmedia stories, which in turn can be used to distinguish between various forms. Firstly, a model developed by Mariana Ciancia documents which channels were used, the overall story as a written account, and an action flow showing how events are conveyed to participants.[ 22 ] Similarly, Renira Rampazzo Gambarato has developed an analytical model that identifies a number of features such as narrative, characters, and structure and context which provides a platform for practicable questions to be asked that reveal details about these features. They argue that their model “depict, in a simpler or deeper manner, the essential structure of transmedia projects” [ 5 ]. “The Variable Model” produced by Espen Aarseth, looks at features of narrative games such as the world, its objects, agents and events. The model includes a scale that goes from one end, the narrative pole to the other, the ludic pole, enabling analysts to see whether any given game tends to be more narratively or gameplay driven in any given feature.[ 23 ] A more visual approach taken by Marc Ruppel applies graph theory to transmedia “networks”, with media occupying the role of vertices, and the relationships between them fulfilling the role of network connections or as he calls them, migratory cues. Ruppel argues that this mapping allows a close reading of transmedia stories to occur by allowing for characteristics to be identified, such as the amount of links to and from a medium. These characteristics can then lead to the identification of specific network motifs and can be used as a basis for a taxonomy of transmedia networks[ 24 ].

3 Methodology

Previous approaches offer insight into what characteristics can be used to form a transmedia taxonomy. However, instead of focusing on a particular form of transmedia such as franchises or single story transmedia experiences, we intend to extend this theory by using our model as a vehicle to illustrate various characteristics identifiable in all forms of transmedia storytelling, using twenty case studies. In this section, we briefly describe our model, and how the case studies were selected using our selection criteria.

3.1 The model

In [ 6 ], we described the model and applied it to two ARGs to illustrate its usage. Our model is based around the concept of a channel , a subset of a media channel that is defined by its boundary e.g a website W1. Channels have instances to illustrate a changed state e.g. a website update W1(1), with these instances having link s, interactivity and state associated with them. Links occur between instances, such as from a website to a film. Interactivity is either passive , if the audience passively consume content e.g. a film and active when they take on a role in the story e.g. a game where you play as a character. A state can be either live if it cannot be accessed in its original form after it has occurred e.g. a play and static if it can e.g. a film. Instances are associated with scenes that signify the narrating time. If an instance is part of that scene, it means that during that time, only those instances can be accessed. Table 1 shows a summary of instance characteristics.

The model therefore models a transmedia story as a set of channels, with each channel comprised of a sequence of instances that are part of a scene. Each instance contains links, interactivity/state values and an optional description. This model can be used in both written (shown in Table 2 ), and visual form, with the visual form being used to illustrate the model in this paper.

Fig 1 is a visual form example of a transmedia story that begins with website W1, which has been updated 4 times. In the first update (instance), it links to the second website which in turn links to a game. The game then links to a live stream where the story ends.

Since [ 6 ], we have updated the model with two additional parameters to accommodate our expanded set of case studies. Below are the updates that have been utilised in this article.

• Non-italic channel name means the channel is standalone. A standalone channel is one that can be experienced on its own as a story, regardless of all other channels in the experience.
• Bold italic channel name means the channel is a subsidiary channel. A subsidiary channel is one that relies on another channel either technologically e.g. audio sync technology that relies on a film, or via a link e.g. a website with an obscure URL that relies on a hyperlink from another known website.

3.2 How the case studies were selected

Twenty case studies (shown in Table 3 ) were selected. Although there are many different forms of transmedia storytelling, we opted to select case studies that fell under one of six forms; interactive films/second screen apps, Alternate Reality Games (ARGs), media franchises, escape rooms, table-top RPGs and exhibits. These forms were identified using the sources above as well as how producers saw their story and third party bodies included in our additional sources material. Though this list of forms is not exhaustive, we felt that by selecting examples that fell under this remit, our potential list of case studies would succeed in offering the desired level of diversity required for this study. We then filtered this list again using a selection criterion that focused on practicality and diversity.

Practicality

The ephemeral nature of many transmedia stories meant that data such as third party post mortems, blogs, videos, wikis, summaries and any other archived content would be used where that experience could not be consumed first hand. Every effort has been taken to minimise errors and subjective distortion by taking data from a variety of sources by different authors and domains.

Channel diversity

We wanted to test the scope of the model by applying a wide range experiences to it, finding out whether the model is capable of distinguishing between different forms of transmedia storytelling. Transmedia stories use a variety of techniques such as a range of media combinations, differing levels of audience interaction and different relationships between media. We attempted to select case studies that were different to each other in these ways so that distinctions could be made.

However, we also took an opportunistic approach and deviated from our list, extending it with local live events with which we could get first-hand experience (in italics below). We felt that this approach offered a wider variety of stories to be included into our list of case studies. Although it is recognised that for practicality we had a limited choice with such experiences.

4 Case studies

This section includes twenty cases that we selected using the selection criteria. Each subsection includes a brief description of the experience, followed by its model.

4.1 19 Reinos

19 Reinos (19 Realms in English) was an ARG with heavy role-playing elements based on the popular HBO series Game of Thrones (GoT) which in turn was based on a book A Song of Ice and Fire by George RR Martin. It ran for 10 weeks in 2004, at the same time season 4 of GoT was released. Media such as TV, a web series, social media, websites and live events were utilised for the telling of the story. Fig 2 shows the model of 19 Reinos.

4.2 APP second screen

APP is a Dutch film about a young woman who, after a party, finds an unknown app has downloaded on to her phone. Over time the app starts to terrorise the woman in increasingly terrifying ways. On its release, the producers encouraged the audience to bring their phone to the theatre, download the app and have it sync to the movie. The app then revealed various media content to the audience as the film was playing, that linked to the current scene on screen. Fig 3 shows the model of APP.

4.3 Change The Record

Change The Record is an ‘escape room’ where a small group of people get briefed on a thematic objective before getting locked in a room. Once in the room, the group has to solve puzzles to ultimately complete the mission, find the key and ‘unlock’ the door. The theme for this experience involves the audience role-playing as British intelligence operatives in 1989 that have been tasked with uncovering the Communist enemy agents’ plans by searching their undercover record shop, located in Southampton. Fig 4 shows the model of Change The Record.

4.4 Defenders of the Triforce

In 2017, Nintendo sold tickets for a limited run of their themed immersive live experience, Defenders of the Triforce. The experience was themed on The Legend of Zelda, a video game series spanning many generations of Nintendo consoles. The game series involves questing and puzzle solving in a fantasy world, with the aim of destroying the ancient evil known as Ganon. The live experience invited players to take the role of the heroes who must defeat Ganon by completing several objectives such as word puzzles, physical challenges and interaction with the live actors who were playing as characters. Fig 5 shows the model of Defenders of the Triforce.

4.5 Dexter ARG

Made to promote the upcoming Dexter television series, the Dexter ARG involved the audience attempting to hunt down a murderer from the clues they had been given by a detective. In the end, the audience as a collective had to decide who ultimately ‘won’, the detective or the murderer. Fig 6 shows the model of Dexter ARG.

4.6 Table top role-playing game (e.g. Dungeons and Dragons)

Tabletop role-playing games, popularized by Dungeons and Dragons that was first published in 1974, are games that involve a ‘dungeon master’ who interprets a manual of lore and roleplaying rules to create a hand crafted narrative for a party of players. Fig 7 shows the model of an example table top role-playing game.

4.7 Game of Thrones franchise

First published as a series of books under the name A Song of Ice and Fire, Game of Thrones is a television show that has reached global fame, arguably like no other television show has by creating a deep impact into popular culture. Mostly based off of the same content as the books, the television show takes place in a fantasy world called Westeros, where gods, magic and fantastic creatures exist. The plot is concerned with the lives of different families, who ally, fight and scheme to become the rulers of Westeros. Fig 8 shows the model of the Game of Thrones franchise.

4.8 Harry Potter franchise

Starting with a series of books written by J.K Rowling, the Harry Potter franchise is a collection of media channels that each communicate a storyworld where magic exists, witches and wizards live side by side with non-magical people, known as muggles, and mythical creatures walk the Earth. Fig 9 shows the model of the Harry Potter franchise.

4.9 Her Story

Her Story is a game released on the Steam platform that advertises itself as an interactive movie. The game involves the player taking the role of a police officer who has been tasked with investigating the death of a man using a computer. The interface behaves as though you are on a computer, able to view all of the documents, emails and video interviews that are saved on the hard drive. Fig 10 shows the model of Her Story.

4.10 Overwatch

Overwatch is a multiplayer first person shooter game. Players battle on large maps with various ‘heroes’, each with their own abilities, aesthetics and backstory. Overwatch differentiates itself from other shooter games in that the game itself is multiplayer only, with no story mode to communicate any kind of plot. Instead, the storyworld is shown partly inside the game in the form of environment design and character voice lines, and partly via videos, text, comics and other media. Fig 11 shows the model of Overwatch.

4.11 Interactive film (Bandersnatch)

Advertised as an ‘interactive film’ and released on Netflix, Bandersnatch involves the audience watching scenes, then making decisions about what should happen in the story given multiple options. Set in England, the main character work in a video games company who is attempting to adapt the fantasy ‘choose-your-own-adventure’ books into a video game. Fig 12 shows the model of Bandersnatch.

4.12 Pokémon franchise

The Pokémon franchise is a collection of animes, films, games and manga that share the storyworld of Pokémon. In this fantasy world, magical creatures with fantastic abilities can evolve instantaneously and are ‘caught’ by humans, trained and used to battle other trainers Pokémon. However, there are gangs of people who use Pokémon for crime and bad deeds, one of which is known as Team Rocket, who feature dominantly in most of the media. Fig 13 shows the model of the Pokémon franchise.

4.13 Pirates of the Caribbean

Starting as a ride at Disney theme parks, Pirates of the Caribbean includes multiple media that tell mythical stories about what the title suggests. The main protagonist, Jack Sparrow, is joined by other pirates and noblemen on various adventures that see them ultimately doing good despite their criminal tendencies. Fig 14 shows the model of the Pirates of the Caribbean franchise.

4.13 Prometheus second screen

With the release of the film Prometheus on Blu-ray came a downloadable app, or ‘second screen experience’ that could be played on iOS and Android devices. The app synced to the movie via audio detection technology, displaying additional content in the form of videos, text, and images that was related to the current scene in the film. The film itself is a prequel to the famous Alien film series. Fig 15 shows the model of Prometheus second screen.

4.14 Prometheus campaign

To promote the film Prometheus, a marketing campaign that utilised Web technology was employed by the producers. Beginning as a fictitious TED Talk, the campaign used a number of channels that purported to be real, introducing the main characters and providing a non-essential backstory to the film. Fig 16 shows the model of the Prometheus campaign.

4.15 Roman Baths

Once the site of a Roman public bathhouse, the Roman Baths located in England is a now a historical landmark that is kept preserved and open to the public to view as an exhibit. The exhibit uses various media to teach visitors about the site, and provide narratives of Roman life including how the baths were made, their religious connotations and what types of people used them. The media used also attempt to create a sense of what it would have been like to visit during Roman times. Fig 17 shows the model of Roman Baths.

4.16 The Black Watchmen

The Black Watchmen is a single player video game released on the Steam platform, that involves the player scanning documents, watching videos, listening to audio files and surfing the Web to find answers that when inputted into the user interface, unlock the next set of media. The pretext to these puzzles is that the player is a secret agent operative that is tasked with observing these various media channels to find paranormal activity. Fig 18 shows the model of The Black Watchmen.

4.17 The Matrix franchise

The Matrix is a collection of media that began with the 1999 release, the Matrix. The film, set in the distant future, is about human-made artificial intelligence that have usurped the human race as the dominant species on Earth. As a way to harvest thermal energy, the AI keep human slaves that are plugged into a machine, unaware of the real world. The creators used different media to tell different stories set inside the world of the Matrix. Although they were each standalone stories, plot threads played out across different media and could only be fully understood if these media were consumed. Fig 19 shows the model of The Matrix franchise.

4.18 Westworld season 2 campaign (ARG)

Based on the 1973 film of the same name, Westworld is a television show based in the distant future, when humans have made near-sentient life-like robots. In the show, a company has created a theme park called Westworld, that is filled with these robots that behave as though they are characters from the wild west. People buy tickets to go to Westworld to role-play as characters, who interact with the robots, go on quests and experience what is known as the ultimate narrative experience. Fig 20 shows the model of the Westworld season 2 campaign.

4.19 Why So Serious?

Set in the Batman universe, Why So Serious was an ARG created to promote the upcoming The Dark Knight film. The story involved two characters set to feature in the film, Harvey Dent and The Joker, with the events and actions performed by the players leading to the film. Fig 21 shows the model of Why So Serious?

5 Transmedia storytelling patterns

In this section we explore three groups of patterns that have been identified from the case studies; story, navigational and instance. These patterns reflect the possible structural features of any given transmedia story. Story patterns reflect the relationship between a channel and its telling of a story, whether it tells the story by itself, is just part of it or simply enhances it. Navigational patterns relate to how the audiences navigates through the story and their potential channel choice. Instance patterns relate to how the audience interact or consume the instance, different channel’s passivity and persistence. The ability to identify these patterns may yield insights into how patterns can be used, which patterns work well with particular types of story and may aid in understanding more about how transmedia genres are formed. With the context of debates that ensure over many of the following terms in mind, we have titled our patterns according to what we saw as the most appropriate description.

In this section we describe these patterns, illustrate their canonical form and provide a table that can be used to calculate how strongly a particular pattern is used in a story.

5.1 Story patterns

Story patterns relate to the how channels are used to tell the story. We are able to differentiate between transmedia works that use multiple media to tell multiple stories within one fictional world and works that tell only one story using multiple media. We can also extend this to include works where a standalone story is supported by non-standalone multiple media to expand or enhance that story. Table 4 is a summary of the story patterns.

Many stories

The Many Stories pattern reflects how many channels are standalone in relation to the total amount of channels. If a transmedia work uses this pattern, each channel can be experienced on its own in isolation, without requiring the audience to visit other channels. Fig 22 shows an experience with this pattern that includes two films, a game, theatre performance and a book. These channels each have their own story, and make up the storyworld of the experience.

Portmanteau

The Portmanteau pattern shows the total amount of cooperate channels in relation to the total amount of channels. Experiences with this pattern utilise channels that work together to deliver a single story. Each channel, whilst technically can be consumed individually, do not provide a story in and of themselves. Fig 23 shows a portmanteau that tells a single story using two websites, a YouTube video and a characters Facebook account.

The Subsidiary pattern illustrates the total amount of subsidiary channels compared to the total amount of channels. Subsidiary channels are those that fundamentally rely on another channel, either technologically or via link. Therefore, these channels can’t be consumed individually without the channel with which they rely. Fig 24 shows a Blu-ray that links to an app that is reliant on the Blu-ray. An example of this could be apps that use audio sync functionality that technologically require the film to be playing in order for the content to emerge.

5.2 Navigational patterns

Navigational patterns relate to how an audience member navigates their way through the story as new content releases or is made available to them. We are able to differentiate between different ways an audience member is expected to experience a story, whether going from one channel to the next sequentially, having multiple options or a combination of the two. Table 5 is a summary of the navigational patterns.

The Linear pattern reflects how many scenes include only one instance, relative to the total scenes. Linear experiences are those that do not give the audience any channels options. Typically, the audience starts on one channel, then moves on to the next and so on, without the ability to go back and see previous content unless the experience is restarted. Fig 25 shows a story that plays out on five HTML websites, which each scene containing a different website, and without the ability of going back to a previous website.

The Non-Linear pattern represents how many scenes have multiple new instances compared to the total scenes. If a scene allows the audience to choose which channel they go to next, the experience intends for the audience to make a choice as to the order in which they experience the channels. Fig 26 shows a story dispersed across six websites, where each scene gives the player a choice as to which instance is experienced first.

The Cumulative pattern shows how many scenes includes one new instance, but with the ability to go back to old instances, compared to the total scenes. A cumulative experience is a mix between the two former patterns, producing a linear effect with regard to new content, but allow choices to be made in whether to access old content and reinterpret information in light of the new instance. Fig 27 shows an experience where in scenes 2–5, a new instance is available but the player is also able to go back to the first instance in scene 1.

The connected pattern is determined by the amount of unique links each channel has compared to the total amount of channels. If a channel (A) instances have several links to the same channel (B), then there is only one unique link (A to B). Fig 28 shows all channels connected to each other.

5.3 Instance patterns

Instance patterns relate to how the audience interact or consume the instance. We can differentiate between experiences that facilitate role play, are consumed passively, have to be experienced at a specific place and time and those that can be accessed at any time after they are released. Table 6 is a summary of the instance patterns.

The Role-play pattern illustrates the total number of scenes that have active instances compared to the total amount of scenes. Fig 29 shows an experience that has at least one active instance per scene, meaning the experience relies highly on the use of role-play.

Audience-centric

The Audience-Centric pattern is the opposite to the Role-play pattern, denoting experiences that deliver their content to audiences in a passive way for them to consume, without being part of the story or role-playing any pre-made characters. Fig 30 shows a story with no active engagement.

The Live Event pattern is determined by the amount of scenes that have a live instance compared to the total amount of scenes. Experiences with this pattern tend to be ephemeral (e.g. a music gig), or have to be consumed at a specific time and place (e.g. a theatre performance or theme park). Fig 31 shows a live experience.

The Artefact pattern is the opposite of the Live Event pattern, and is determined by the amount of scenes that have a static instance compared to the total amount of scenes. Experiences with this pattern are ones that are consumed by the audience any no particular time. The experience can be played, replayed and paused. Depending on the particular channel, static instances can be consumed in many places (e.g. websites on phones, tablets and computers). Fig 32 shows an artefact experience.

6 Forms of transmedia storytelling and their use of patterns

In this section we discuss how patterns are used in five forms of transmedia storytelling; interactive films/second screen apps, ARGs, media franchises, escape rooms, table-top role-playing games and exhibits. We explore how these forms illustrate the patterns in different ways using examples from the case studies. Table 7 shows the primary patterns of each form identified from the case studies.

6.1 Interactive films/second screen

(app, bandsnatch, prometheus, her story).

This form of story includes films that have elements of interaction with the audience in various ways. In a standard film, the audience passively consume the content either live e.g. a cinema or statically e.g. a Blu-ray, by watching a screen and listening to the music and sound. In interactive films and second screens, the audience is afforded an extra duty in some way, either through making a choice or consuming extra content.

Story patterns

This form uses the Subsidiary and Portmanteau pattern. In APP and Prometheus, an app is downloaded onto a device which uses audio sync technology or Wi-Fi to deliver subsidiary channels that display different channels depending on the specific scene of the film. In Bandersnatch and Her Story, each channel works together to deliver the story.

Navigational patterns

This form uses the Non-Linear form most commonly, with the experiences allowing the player to choose from a selection of channels which ones they want to view at any given time. In APP, when there is a bomb under a café table near the characters, a timer is shown on the second screen app, letting the audience know exactly how long is left before the bomb goes off. Here, there is a connection to what is happening on the screen as the audience is given an extra sense of impending doom. They can either watch the film, look at their phone or both. However sometimes the form may utilise the Linear pattern by controlling what channel the audience is viewing. In Prometheus, when the audience see an old Mr Weyland for the first time in the film, the app pops up with a TEDx style video of Mr Weyland in his younger days, giving the audience a sense of who he is and what his motivations are whilst the film pauses. In Prometheus, the audience is not getting an extra sense of something we know is going on in the scene like in APP, but they are getting extra information that may or may not affect how they view Mr Weyland for the rest of the film.

For Non-Linear stories such as Bandersnatch, that lock out all other options once one is picked, the story that is experienced could be different between different audience members. The story can be either one type of “play through” or could be every single possibility. Non-Linear stories that do not lock options, but allow the audience to view all channels, are more likely to fall under the latter defined story, even though the order in which these channels are consumed could change the reading of subsequent channels.

The Connected pattern is sometimes used in this form to push the audience from a second screen app back to the film at appropriate times e.g. Prometheus, but other times there are no links and the audience is left making their own decision on where to direct their attention e.g. APP.

Instance patterns

Both the Live and Artefact pattern are used in this form, with each pattern having an impact on the use of other patterns. For example, stories that use the Non-Linear and Live pattern together may risk cognitive overload, breaking the immersion, and disrupting the pacing set by the film. Artefact stories may pause the film in order for the audience to take their time with all the content.

It is difficult to see how this form could use the Role-play pattern, and our case studies illustrate the exclusivity of the Audience-centric pattern. One reason for this is the pre-rendered nature of film, with little ability to allow for role-play.

(19 Reinos, Prometheus, Westworld, Dexter, Why So Serious?, The Black Watchman)

ARGs, often used as a marketing tool, are defined by their distinctive trait of blurring reality with fiction by using multiple channels that purport to be authentic e.g. fictitious company websites, character social media pages and character blogs. Audiences tend to be large and collectively hunt down clues from these channels to find additional channels and piece together a story that in many cases provides backstory and context to a standalone channel.

All ARGs use the Portmanteau pattern in that most channels are not self-contained and only make up part of the whole experience. With ARGs that are part of a larger franchise, the Many Stories pattern appears and can be considered to be part of the ARG, especially when an ARG continues to run after or during the standalone channel release. In Westworld and 19 Reinos, channels were producing new instances with each new episode, incorporating the standalone channel into the experience. On the other hand, Dexter finished before the television show had aired its first episode, and did not continue after.

The navigational patterns used by ARGs is predominantly Cumulative, with some Non-Linear. Producers, or “puppet masters” as they are known, will create Non-Linear scenes when they want the story to be pieced together by the audience in an ambiguous way. When they want the audience to get a piece of the story in the same way, they may switch to Cumulative to restrict the audience to one new instance on one particular channel. This produces the effect of firstly causing the audience to flock to one channel, and then potentially pushing them back to older content to reinterpret given the new update e.g. a Cumulative scene gives the company password that allows access to content on their website that was inaccessible in previous scenes. The Non-Linear and Cumulative pattern can however create different responses to the story in different audience members, especially when there is a standalone channel. In Westworld, those who visited the company website and saw secret videos of James Delos before watching the episode where they revealed he was in fact a robot, would have a different response to those who did not see the videos and suspected he was a human.

ARGs scarcely use the Linear pattern, because it disrupts the feeling that what is happening in an ARG is real, by limiting the events of the fictional world by allowing access to only one instance per scene. The Linear pattern also damages the massive multiplayer infrastructure that many may argue is the most appealing trait of ARGs by not allowing the excitement of different people from around the world finding different instances at the same time, pooling their collective intelligence, solving the puzzles and hunting down further channels. However, ARGs such as The Black Watchmen that advertise themselves as single player ARGs, are better suited to having the Linear Pattern. Here, a single audience member can get some of the characteristics of a conventional ARG such as cryptic clues, fragmented story and multiple channels without having to interact with other people. The consequence is that puzzles, channels and to some degree the level of complexity of the story, have to be carefully constructed to accommodate the abilities and comprehension of a single person. In The Black Watchmen, a mission can consist of watching a video, examining a document for clues and inputting a keyword into an interface. The channels of a single player ARG are also limited, e.g. the live crime scene set up in Dexter would not have been made for just one person for economical and practical reasons. The trade-off is that unlike Non-Linear/Cumulative patterns, the producers have much more control over what the audience consume and are more likely to get a common reaction and emotional response amongst all audience members. Taking our previous example from Westworld, in a Linear scenario, the producers could decide whether they want the audience to suspect that James Delos is a robot, and every audience member would be given the same information at the same time.

ARGs showcase the Connected pattern the most out of all forms, with many clues scattered across the various channels, that interlink many of them. These links are known as “rabbit holes” in ARG nomenclatures, or starting points that bring in new audiences from these sources into the rest of the ARG. ARGs are therefore designed to include as many rabbit holes as possible. Sometimes links can point to previous instances and channels e.g. Westworld to allow latecomers to view previous content, but are commonly used to point to new instances and are used to control where audiences go e.g. Dexter.

ARGs often use the Role-play pattern in conjunction with the Live pattern in various ways depending on whether the puppet masters want the audience to contribute to the story, or role-play as pre-existing characters that follow a controlled path. In 19 Reinos, the audience made their own characters and had freedom to name them, choose their family, create their backstory and ultimately decide how they interact with other audience members. We can contrast this with The Black Watchman, where the audience is role-playing as secret operatives that follow a specific path. Role-playing in the former sense is much more common with the Live pattern, as limited rules and rules that can be updated on the fly allow for less restricted rules that appear in static channels, that typically have hard-coded restrictions on how far an audience member can go with their interaction with the fictional world.

The story that is created in experiences that use the Role-play pattern is different for each individual, where the potential story could be the events of the storyworld along with the role-play behaviour of all characters, or just your own role-play. The issue is that audience member A may never interact or even know audience member B exists, as was the case with many of the audience members of 19 Reinos. Individually, the story they consume is different, but objectively this can be troublesome. An individual looking at the experience from the outside who is trying to find what the story was, will be met with huge amounts of role-play material, some interacting and others not, that may or may not be conflicting with each other. They will have to decide for themselves what the story was, or resign themselves to not include, so far as is possible, the details of individual role-playing content. Similarly, this issue is less troublesome for experiences that limit the role-play to inconsequential or trivial decisions in relation to the story e.g. we know what happens in The Black Watchman because everyone gets the same ending.

6.3 Media franchises

(harry potter, the matrix, pirates of the caribbean, game of thrones, pokémon, overwatch).

A Media Franchise is a collection of media that share a storyworld. Often, there is one primary channel that either sparks the creation or forms the storyworld blueprint of additional media. The primary channel is commonly either a film, television programme, game or book and allows the continuation of characters and events portrayed in these works in further instalments of the same media, or explores a secondary character or plot thread in a new media.

The Many Stories pattern is seen very strongly in franchises, as each channel contains its own story that can be enjoyed without consuming any of the other channels. However, this can arguably be false in some cases, where channels assume that the audience has been previous content. In The Matrix, the third film, although it can be watched and enjoyed to some degree without having consumed any of the previous content, much of the story will not be understood because the audience will not know the importance of The One and the consequences of Neo being identified as such in previous films. Other franchises alleviate this problem by anticipating new audiences by having an introduction in every channel, for example in Pokémon, each channel gives an introduction to the fantasy world and explains what Pokémon are.

Franchises typically use the Cumulative pattern, releasing new content every few months or years, whilst allowing audiences to consume older content. In some cases, such as Pirates of the Caribbean, multiple channels released at the same time produce a Non-Linear pattern. This occurs when games tied to a film release at the same time, or when spin-off books are published with the release of a film. This sometimes creates a phase effect, in that a franchise will release multiple content in each phase that all share a common time, place, or theme of the storyworld. Phases allow each channel to share marketing momentum at the same time, with each channel promoting the others to varying degrees and reaching the most people by appealing to multiple audiences.

Use of the Connected pattern in a franchise typically indicates intricate plot threads that continue across channels. This is seen in The Matrix Franchise, that has various channels that point to other locations within the franchise. One example is the letter shown in the anime of an incoming attack by the AI on the survivors, that acts as an item that requires acquisition in the game and is received by the characters in the second film. In such cases, franchises start exhibiting characteristics similar to ARGs, with the audience looking out for clues and piecing together the story.

Instance patterns vary in this form from franchise to franchise. There is often a mix of all instance patterns, with the case studies illustrating this. Regarding the Role-play pattern, role-play is usually limited to having a small role in one of the plots in one of the channels. As with other forms, role-play can vary from players creating their own characters that exist in the world e.g. wizards the Pottermore website or trainers in the Pokémon games, to audiences role-playing as pre-existing characters e.g. playing as Captain Jack Sparrow in the games or playing as various characters in Overwatch. Regardless of the role-play involved, this interactivity usually does not have any effect on the other channels. In terms of whether role-play counts as even a small part of canon in the storyworld is perhaps assumed as anything that can happen in the interactive channel, has happened and is part of the canon e.g. you have a limited amount of roleplaying capabilities in Pottermore, that is carefully controlled by software and its underlying rules. However, deeper levels of interactivity can occur if done as the last channel, that does not contradict or conflict with previous channels. In The Matrix Online, players made a major contribution to The Matrix storyworld as characters’ role playing in the fictional world set some time after the events of the final film, speaking with main characters and continuing the plot until its eventual finale.

6.4 Escape rooms

(defenders of the triforce, change the record).

An escape room, a theatrical entertainment form that has recently become popular, is an experience whereby an audience, usually consisting of small groups, are locked into a room and made to solve clues, progress the story and reach the ending to find the key that lets them out.

Escape rooms predominantly use the Portmanteau pattern as the room, items and actors make up the whole experience, with no one channel taking dominance. However, on a superficial level it can be argued that the Subsidiary pattern is used because all channels rely technologically on the location and room. In some cases, a subsidiary channel such as a hidden CD that relies on there being a CD player is used, but will still be a minor attribute compared to the Portmanteau pattern.

Escape rooms make use of all the different types of navigational patterns, with a popular pattern being Non-Linear. In these, players have a choice of which channels they want to consume first, often splitting up the team and assigning individuals or groups to specific channels e.g. Change the Record gave all the channels that contained all the story and clues at the beginning. In other cases, a Cumulative pattern is used to give a more traditional delivery storytelling method by having starting content, middle content and end content e.g. in Defenders of the Triforce, the audience were shown introductory channels, left to complete the puzzles and talk to actors for the bulk of the experience, and then presented with the ending as a performance and a film. A canonical Linear escape room could be one in which each scene is a new room, where the old room is made unavailable to the audience. This gives the producers high control over the experience but assumes that every group of players will progress at the same rate, which can mean the producers stepping in and helping, potentially disrupting the experience negatively.

Escape rooms commonly make use of the Role-play pattern. In many cases, audiences are expected to role-play as characters in the story, and can theoretically behave as they desire whilst inside the room. However, in terms of story progression, audiences are constrained by what the experience allows you to do e.g. in Change the Record, you are limited to interacting with only the items in the room and in Defenders of the Triforce, actors have scripted responses and will give you the next clue if you converse correctly.

Traditional escape rooms use physical spaces and so use the Live pattern, however digital escape rooms that use virtual reality are becoming increasingly popular. These experiences use the Artefact pattern and in many ways allows the producer deeper control over the audience. Instead of an autonomous body walking around a room in real life, the VR avatar is restricted to the movements, rotations and interactions that the code allows. The producers also lose the risk of interrupting the experience to help the audience, because the time restriction present in real life will not be present whereas the VR application can be replayed and reattempted.

6.5 Table top role-playing games

Table top games are a type of game that are typically played on a table. They sometimes involve physical objects such as cards, boards and plastic figurines. A sub-set of these are table top role-playing games (table top RPGs), sometimes played with no tangible media channels or online, are games in which a dungeon master (DM) creates quests for a group of players who role-play their characters. Rules are often derived from rule books, which also include information about the storyworld and theme where these quests take place. With the influence of the rule book, the DM may utilise multiple channels to deliver these quests and controls non-playable characters that interact with the players. Stories are different for each group of players, even when quests have been shared amongst DMs, because the characters’ actions, decisions and interactions with characters in the storyworld will be unique for each play through.

Table top RPGs mainly use the Portmanteau pattern. With the player character sheet, the document that stores background story, skill attributes and characteristics of a player, the rule book, and the DMs themselves being the channels that make up the experience. Occasionally the Subsidiary pattern emerges when DMs introduce non-essential channels that rely on others such as sound effects, images of characters or documents that purport to be from the storyworld, that enhance the audience’s knowledge of the storyworld.

This form primarily uses the Cumulative pattern. Players have access to their character’s sheets, and the rule book at all times, whilst the DM progresses the story with narrative or other Subsidiary channels. However, DM’s can also invite the players to choose from a selection which media they want to experience, e.g. asking do you want to watch the video of the dragon or read a description of it? Occasionally, the Linear pattern can be used for times when the DM controls exactly what the players experience e.g. the DM narrates, shows a video, allows characters to be recorded in the characters’ sheets, then takes them away and moves on to narrating the starting quest. This is more likely to occur in experiences using the Live Event pattern, where DM can control what the players do more practically.

All table top RPGs use the Role-play pattern, and include role-playing that allows meaningful decisions to be made that affect the characters and the storyworld on a local level. This means that within the confines of the game, the storyworld is permeable, and it is up to the discretion of the DMs, as well as what is legal as stated in the rule book, what is and is not allowed. Everything that occurs inside the game will not have an effect on the storyworld if it is part of a franchise, or other people’s games. However, the latter does occur when groups of friends mash their stories and characters together into one coherent world that can be experienced by all the players.

6.6 Exhibits

(roman baths).

Exhibits can take several different forms including museums, art installations and theme parks. They aim to showcase items, produce a narrative or immerse visitors in a park decorated with a particular theme. They often involve visitors consuming and interacting with multiple channels such as; video projections, live actors, rides, games, posters and items of historical or cultural significance.

Story patterns vary depending on the sub-category of the form. In the museums, the story pattern used is usually Portmanteau when artefacts have equal status or Subsidiary when there are primary artefacts. Theme parks tend to be a mix between the Portmanteau and Many Stories pattern, for each ride is a standalone channel, but together make up the storyworld of the theme park. Art installations are usually Portmanteau, and include a variety of channels that are used in a space to make a three dimensional work.

Exhibits most commonly use the Non-Linear navigational pattern. Visitors are given the choice of which artefact in a museum they want to see e.g. Roman Baths, which direction they want to view the artwork, or which ride to go on first at a theme park. Occasionally, an exhibit will use the Linear pattern to control in what order visitors see different channels e.g. individuals rides at theme parks that may see visitors walking through various themed rooms, then get on a roller coaster, followed by a short performance or film at the end. Exhibits have historically used the Live pattern, but recently there have been experiences that use the Artefact pattern, such as VR theme parks and digital museums.

In exhibits, the Role-play pattern is used differently compared to other forms. Role-play usually involves individuals acting as themselves, but in the context of the exhibit they are in. At the Roman Baths, live actors roam the museum at certain times, dressed in full Roman regalia, and interact with visitors by giving them details of their Roman life, or details of the Roman Baths. At Disney theme parks, adults pretend that Mickey Mouse and other characters are real whilst some children believe them to be. Every role-play interaction in exhibits is local, and usually has no impact on the experience of other visitors, unless they observe your interactions. Occasionally, the actions of past visitors are recorded in some way e.g. photographs, guest books etc. and can influence the way present visitors enact their role-play.

6.7 Comparing applications of patterns

By comparing the way patterns are applied in different forms, we are able to identify situations where techniques from one form can be reapplied to another form. This repurposing can yield various consequences on the form it is applied to, opening up potential novel methods of storytelling.

There are many different ways patterns can be repurposed, such as applying the connected pattern seen in ARGs to franchises, where each new addition to the franchise not only forms part of the story world, but carries on a plot thread or character arc. Others include using the Subsidiary pattern in ARGs the same way as it is used in second screen apps to enhance a primary media channel, using the franchise Cumulative pattern in ARGs, where each experience forms are itself a piece in the larger story world, and using the Linear pattern from interactive films in RPGs to control exactly what the payer sees and is able to interact with.

One such application that will be discussed in more detail is the reapplication of the Role-play and Live Event patterns from ARGs to escape rooms. The Live Event pattern lends itself well to the Role-play pattern in mass audience collective decision making that changes the direction of the story. Examples of this are seen in multiple case study ARGs. In Why So Serious, audiences decided who they wanted to side with and participated in political rallies, observers of the detective’s livestream in Dexter decided whether the detective would be victorious or the murderer, and hordes of characters in 19 Reinos battled each other on Twitter to ultimately decide who became king. In escape rooms, collective decision making tends to happen in small parties, where groups may decide to split up and complete their respective chosen channels. The story of the event determines whether this choice is possible, for example Defenders encourages you to work as a team to solve each puzzle and defeat the forces of evil, whereas in other escape rooms it may be efficient to solve the room by assigning people to different channels. However, in Defenders of the Triforce, the room was actually a large hall, filled with several groups of players. Aside from being in the same space, the groups did not interact with each other and the progress and role-play of one group had no impact on any of the other groups. Such escape rooms could use the techniques seen in the above ARGs. In Defenders, the groups could have at one point in the experience worked together to impact how the whole experience ended, instead of having one generic ending. The interaction between the groups could occur in a number of ways e.g. the whole hall working on one puzzle, all groups competing against each other to find a victorious group, decision making by paper like a narrativised ballot or an outcome based on the ratio of groups that completed the puzzles vs those that did not.

7.0 Conclusion

In this paper, we have presented the problem associated with the definition of transmedia storytelling and the lack of critical language that can be used to form taxonomies. There is a shortage of tools afforded to us that enables the comparison of different experiences.

We have presented our model and illustrated how it can be used to describe the structural elements of different forms of transmedia storytelling. We then applied our model to twenty case studies and identified three groups of patterns; story, navigational and instance. We then conducted an analyses of the six different forms of transmedia storytelling our case studies fell under, discussing how these forms use the patterns in different ways to achieve certain effects.

These patterns can be used to extend transmedia language and help form taxonomies, by identifying common patterns and their usages amongst various forms of transmedia stories. The main application of this is providing an additional toolset to individuals who wish to ‘close read’ transmedia stories. This could be done by scholars who wish to deepen their understanding of how different patterns and their usage in various forms change the way particular stories are told. This work may also provide insight into transmedia authors who wish to look back at older experiences and gain inspiration, borrow and modify techniques and usage of patterns.

Supporting information

Funding statement.

EPSRC Funded.

Data Availability

• PLoS One. 2020; 15(1): e0225910.

Decision Letter 0

PONE-D-19-16978

Dear Mr Javanshir,

Thank you for submitting your manuscript to PLOS ONE. After careful consideration, we feel that it has merit but does not fully meet PLOS ONE’s publication criteria as it currently stands. Therefore, we invite you to submit a revised version of the manuscript that addresses the points raised during the review process.

==============================

Many thanks for your submission to the PLOS One 'Science of Stories' collection. As you can see from the attached reviews, a lot of value was found in your work, but also some flaws. On this basis, I am recommending it for potential acceptance pending major revisions. In particular, it seems to me that the following are the most crucial areas for improvement:

1. Your theoretical foundation has a number of significant gaps in it, something all three reviewers noted in different ways, in particular Reviewer 2.

2. The layout and construction of your central argument is based on a perhaps too large sample to be presented as you have chosen to do so.

3. A thorough copy editing is needed.

I hope you will consider revising your article for resubmission.

With every good wish.

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Reviewer #1: The paper is clear and proposes a useful framework that is demonstrated through 20 examples. There were some in-text citations missing for the example narratives, some misspelled names (e.g., McCluhan), and lack of consistency of capitalisation and italics for the names of titles and the identified patterns. There is also a lack of consistently referring to the “case studies” in the beginning of the paper vs “examples” at the end. Two scholars that have worked on narrative structures and patterns that could be referenced and used as a basis to differentiate this work are Espen Aarseth’s Game Variable Analysis Model and Marie-Laure Ryan’s “Narratives as Virtual Reality 2” book which includes several examples of narrative structures/models.

More explanation of how the authors came up with the terminology for the different patterns (e.g., more stories, portmanteau, and subsidiary) would help contextualise them further and aid other researchers in identifying the same patterns in their own case studies. The authors could add some signposting or introductory paragraphs to contextualise the overall broad patterns that were found and the wider implications of these patterns for future studies.

In the section “6 forms of transmedia storytelling” the authors further explain the narrative patterns in the case studies. It would help solidify the arguments if these sections were integrated with each case study’s graphical pattern rather than as its own separate section at the end so that the reader does not have to scroll back and forth and the rationale and identified pattern would be clearly reinforced.

Reviewer #2: Overall I admire and appreciate what the authors are trying to do here. They are right that the term transmedia is broad and takes on different meanings in different concepts. More consistent language could therefore the valuable. The article is well written and clearly structured, with some useful terms.

However, I cannot help but feel that the authors are overlooking a vast amount of recent research into transmedia studies that does some of this work for them. The authors rely on understandings of transmedia from 2006-2009, but ignores almost everything else. Transmedia studies has done much work since then, employing all kinds of new terms, models and approaches. For example, look at:

- Susana Tosca and Lisbeth Klastrup's work

- Matthew Freeman's work

- Routledge Companion to Transmedia Studies

- Elizabeth Evans' work

- Renira Rampazzo Gambarato's work

All of these, and others, have developed new models and terms re transmedia, and these should be acknowledged if the author's aims are genuine and to be of significance. Without engaging with this work, the the article feels outdated - though admirable in its intent.

The other issue, for me, is the number of case studies. 20 is surely too many for qualitative analysis, which leaves very little room for detailed analysis. Perhaps more of a quantitative approach would be better? In fact, very little research in transmedia studies takes a quantitative approach, so this would make it more original.

Reviewer #3: This article deals with an original analysis of Transmedia productions and strategies, offering new methodologies and a pattern which could easily be reproduced.

The methodology is well described and we can easily follow the arguments of the authors throughout the article.

The authors used different cas studies, allowing them to draw some conclusions and provide a relevant pattern.

We would have liked to have a final table at the end of the article, presenting a summary of the projects and findings. It could help the reading.

The authors should give their own definition of Transmedia storytelling and Transmedia projects, since the case studies they have chosen to use in this article do not match Jenkins' seminal definition.

There are still some mistakes and misspellings in the text.

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Reviewer #1: Yes: Nicole Basaraba

Reviewer #3: Yes: Melanie Bourdaa

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Author response to Decision Letter 0

10 Nov 2019

1. Grammar - We have edited the document to fix grammar and spelling mistakes. (Reviewer 1, Reviewer 2, Reviewer 3)

2. References and Background – We have updated our background section to include more context to our research, and further related work. (Reviewer 1)

3. Signposting – We have expanded our introductory paragraph in section 5 to provide more signposting for the reader. (Reviewer 1)

4. Integrate section 6 with case studies – We felt that this would in fact make the reading much harder, and would risk talking about the same things twice. Our findings in section 6 are grouped according to the forms of the case studies. (Reviewer 1)

5. Table – We have added a table in section 6 to summarise our findings (Reviewer 3).

6. Definitions – We have included more background literature for definitions, and included our own (Reviewer 3).

7. Case study amount – We feel that we needed at least this amount to be able to identify the patterns that we did. Our objective was not to do a detailed qualitative analysis, but rather a structural analysis of how these experiences operate. (Reviewer 2)

Submitted filename: Response_to_Reviewers.docx

Decision Letter 1

15 Nov 2019

Structural Patterns for Transmedia Storytelling

PONE-D-19-16978R1

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25 Nov 2019

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Transmedia Case Study: The Three Little Pigs

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If the Three Little Pigs were told as a transmedia story it might be designed like this:

• The basic story would be told in an anchoring medium, such as a novel, TV show, or film.  In this case, it’s a short story.
• There are four primary characters to expand and explore: three pigs and a wolf.  There are also deeper themes of hard work, planning, collaboration, family and persistence underlying the main story arc.
• Pig 1 has a blog which details the family history and complicated family dynamics that led to the pigs decision to live apart rather than together.  Pig 1 also harbors paranoid suspicions of a dark figure lurking about his house and a conspiracy theory of a cover-up by local authorities that contributed to the interfamilial conflict.
• The wolf has a website would give us opportunities to learn more him, the path that led the wolf to his current antisocial tendencies, and give us a glimpse of his complex inner genius, such as showing his mathematical schematics of the impact of wind velocity on the materials of straw, sticks and bricks. We would also be able to find maps of the turnip field, apple tree, local market and County Fair and strategic attack positions. We would follow the wolf as he plots and adjusts his plans at each volley by the pigs and contribute ideas and support.
• @littlepig2 walls of house bowing inward, sticks flying off roof – help
• The third little pig, Pig 3, is a  hardworking homebody.  He keeps a vegetable garden and creates a cooking blog and cooking demo videos for YouTube shot on location in the House of Stone.  His recipes, such as such as Parsley Turnips, Baked Apples, and Stewed Wolf Surprise are made using only local, organic ingredients.
• On a Ning network, Wolf supporters form Team Wolf and contribute strategy, information, additional maps, and alternate endings and plot developments.
• An Anime comic takes fans on the first little pig’s visions of a pig super hero uncovering the conspiracy, saving the world and avenging evil as personified by wolves.
• Pig 2 posts eco-friendly home designs and materials on Pinterest and holds a contest for homes make from sustainable building materials
• The third little pig has a cooking series shot on location from the Stone House kitchen posted on YouTube with ways to make Parsley Turnips, Baked Apples, and Stewed Wolf Surprise. He hides clues for secret ingredients in his dishes in lyrics of songs and the YouTube trailers and encourage viewers to send in their stories about home cooking and wolf encounters to be shared on a website. He publishes a cookbook with recipes, clues to the location of the remaining house of stone, and phone numbers with changing recorded messages of cooking tips and pig gossip.
• The Three Little Pigs II – The Sequel
• A new game called “Angry Pigs” is available for download at the Apple Store involving pigs, wolves and wind velocity.
• Pig 3’s videos showcase occasional trips to the Local Market and County Fair, where additional characters can be introduced
• The pigs in PigLand can link with other story worlds, like Little Red Riding Hood or Puss n’ Boots, where there are opportunities for Wolf collusion for hard core fans.

The hypothetical transmedia version of the Three Little Pigs is not the repurposing of story across different platforms. It is the creation of a holistic narrative that unfolds in different and unique manners across different media. It allows for a dialogue between creator and participant.

Developers could decide if participant interaction, such as solving the sustainable materials problem, finding the wolf through clues and maps, or creating another character for the story, could move the story in different directions than the original version. Participants might urge the first little piggy to trust his instincts about the dark figure or create a hunter who steps up the stakes for the wolf and alters the time dimension of the wolf’s schemes.

29 Comments

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A Comprehensive Dive Into Social Media Marketing Case Studies

Nowadays, social media goes far beyond chatting with friends on Facebook. Where we’re all connected online, it’s more than just a way to keep in touch with friends. Business owners all over the world are finding it to be an extremely useful tool.

Think about how social media has changed over the years. In the beginning, it was all about talking to your buddies online.

But as time passed, it became a big deal for companies too. Now, it’s a key part of integrated marketing campaigns for all sorts of businesses, no matter how big or small. It helps them connect with the people who might want to buy their stuff.

Social media marketing has grown into something really important for people who want to sell stuff. It’s a cool way to talk to potential customers and get them interested in what you’re selling.

To prove how powerful social media can be, we’ve put together some awesome social media case studies about how it has changed everything.

So, let’s know more about it!

Listen To The Podcast Now!

The significance of social media case studies.

Before we delve into the specifics of these social media case studies, it is imperative to underscore the vital role they play in the realm of digital marketing.

A Social media marketing case study serves as tangible, real-world evidence of successful strategies, offering invaluable insights and actionable takeaways applicable to businesses of all sizes.

Case studies are like beacons in the digital marketing world as they provide a clear path forward by showcasing what has worked for others.

These real-life success stories serve as a source of inspiration and guidance, offering a roadmap for businesses looking to harness the power of social media.

The Influence of Social Proof

As inherently social beings, we often find ourselves seeking assurance from the experiences and achievements of others when making decisions.

In the same way, social media case studies provide a compelling form of social proof, instilling confidence in potential clients by demonstrating the viability of specific strategies.

When consumers see concrete evidence of how a particular social media strategy led to success for a business, it not only validates the effectiveness of that strategy but also builds trust.

This trust is a critical element in the decision-making process for consumers, making them more likely to engage with and ultimately support a brand.

Decoding the Science Behind Successful Social Media Marketing

Airbnb’s spectacular ascent.

In the annals of business history, Airbnb’s meteoric rise from a struggling startup in 2008 to a global hospitality juggernaut is nothing short of remarkable.

This particular case study on social media serves as a quintessential illustration of how Airbnb harnessed the power of user-generated content and tapped into the emotional resonance of travel to create a viral sensation.

Airbnb’s journey is not just a success story; it’s a masterclass in the art of storytelling through social media.

By encouraging users to share their travel experiences through captivating photos and videos, Airbnb not only engaged its audience but also created a sense of community. This sense of community is a potent driver of brand loyalty and advocacy.

The lesson from these social media case studies is clear: storytelling is at the heart of effective social media marketing. It’s not just about promoting products or services; it’s about crafting narratives that resonate with your audience on a personal level.

Navigating Challenges through the Lens of Social Media Marketing

Mcdonald’s “our food, your questions” campaign.

Even titans like McDonald’s, one of the world’s most iconic brands, encounter public skepticism. Facing questions about the quality of their food, McDonald’s responded with the “Our Food, Your Questions” campaign.

This insight, among other social media case studies, delves into how the fast-food giant used transparency and active social media engagement to rebuild trust with consumers.

McDonald’s recognized that addressing consumer concerns head-on was not just a PR move but a strategic decision. By openly addressing questions and concerns about their food, they demonstrated transparency and a commitment to quality.

This level of transparency resonated with consumers, fostering a renewed sense of trust.

Well! In the quest for social media success, having the right tools at your disposal is paramount. Socinator offers a comprehensive solution for automating, managing, and optimizing your social media campaigns. With Socinator, you can!

Let’s know how Socinator can help marketers to create a powerful impact on multiple social media platforms in just a few clicks!

Socinator: Your Social Media Partner

While we’re on the topic of effective social media strategies, it’s essential to mention Socinator—a powerful tool that can enhance your social media marketing efforts.

Socinator is your partner in optimizing and automating social media campaigns across various platforms.

Here is what Socinator offers to its users:

• You can schedule posts to be published automatically on a specific date, so you don’t have to post them yourself, especially when you’re busy.
• Socinator offers automation capabilities for a variety of tasks, including commenting, liking, following, unfollowing, following back, and reposting.
• Additionally, the tool assists you in discovering and extracting hashtags, identifying target audiences, and with the posting of profile pictures.
• With Socinator, you can efficiently handle numerous accounts, remove posts, block followers, send out broadcast messages, and engage in live chats.

Now, let’s continue exploring more insightful social media case studies that showcase the potential of social media marketing.

Small Enterprises, Monumental Successes

Blendjet’s ingenious instagram-first strategy.

BlendJet, a portable blender company, captured the imagination of Instagram users worldwide with their creative and engaging content.

This social media case study highlights the potential for even modest-sized enterprises to flourish in the digital arena when armed with a well-crafted social media strategy.

BlendJet’s success story underscores the importance of understanding your audience and choosing the right platform for your brand. Instagram, with its visually appealing format, was the perfect canvas for BlendJet’s marketing efforts.

This strategy helped them reach a global audience and fostered a vibrant and engaged community of users.

The Metrics of Social Media Triumph

Hubspot’s data-driven odyssey.

HubSpot, a recognized leader in inbound marketing, embarked on their social media journey with data and analytics as their guiding stars.

This particular case study on social media elucidates how HubSpot meticulously employed metrics such as engagement rates, conversion rates, and customer lifetime value to fine-tune and optimize their social media campaigns.

HubSpot’s approach is a testament to the power of data-driven decision-making in social media marketing. In a world flooded with data, it’s crucial for you to know which metrics matter most to your business.

Tracking key performance indicators (KPIs) and analyzing the data can provide invaluable insights into what’s working and what needs improvement.

Also Read 11 Social Media Marketing Ideas for Non-Profit Charity Organization 5 Remarkable Marketing Campaigns for Your Brand Schedule Instagram Posts For Consistent Success

Unveiling Trends and Innovations in Social Media Marketing

Tiktok’s explosive evolution.

TikTok, the trailblazing short-form video platform, took the world by storm with its innovative approach to content creation. In this social media case study, we embark on a journey to understand the meteoric rise of  TikTok and contemplate its profound implications for the future of social media marketing.

TikTok’s success is a testament to the power of embracing emerging trends. In an ever-evolving digital landscape, staying ahead of the curve is essential.

TikTok’s emphasis on short, engaging videos tapped into the changing preferences of a younger audience. Businesses that adapt to new platforms and formats can gain a competitive edge in the market.

Extracting Insights from Social Media Case Studies

Key takeaways to supercharge your social media strategy.

After immersing ourselves in the captivating narratives of these social media case studies, it is essential to distill the key insights that can invigorate and enhance your own social media marketing efforts.

From the art of storytelling to the science of data-driven decisions, these case studies offer an abundance of actionable wisdom.

As we wrap up our exploration of these social media case studies, let’s summarize the key takeaways that can elevate your social media strategy:

• Storytelling Matters: Craft compelling narratives that resonate with your audience.
• Transparency Builds Trust: To foster trust, it is important to address any concerns in an open and transparent manner.
• Platform Fit: Choose the right social media platform for your brand and audience.
• Data-Driven Decisions: Use metrics and analytics to refine your strategies continuously.
•  Embrace Trends: Stay adaptable and explore emerging trends to remain relevant.

Having a strong online presence is crucial for business success in digital world. Social media case studies are like success stories and guides that can inspire and help you navigate the ever-changing world of social media.

As you embark on your own social media journey, remember that these case studies aren’t just tales of success; they’re like maps showing you the strategies to succeed in the exciting and always-changing world of social media marketing.

Social media is a big, ever-changing place. To do well here, it’s not about luck; it’s about making smart choices, being creative, and staying flexible as trends shift. So, get ready for your social media adventure.

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3 brilliant brands telling stories – a case study, stories are powerful and hold the power to connect people. a brand story is a piece of narrative that encompasses the facts and feelings created by your brand., now, thanks to smartphones and the internet, people are more contactable than ever before. but customers demand more than just a guarantee that your brand or business is the best. they need to be shown, not told. this all comes down to creating a relationship..

Why are we seeing more and more businesses focusing on their story?

Simply put, a strong brand story possesses the ability conjure an emotional connection with your audience. It is through this connection then that you can begin to build a relationship with your audience.

A strong brand story establishes what your brand is all about – its vision, core values, and mission. While also offering your audience much more than just a product or service, but an experience that can take them away from the everyday.

Let’s take a look at just a handful of the best brands in action…

Ahead of the curve since 2006, Dove knows the importance of storytelling. Their first video released took a female model and photo shopped her beyond recognition for a spread in a glossy magazine.

Sometime later in another campaign Dove had females describing themselves to a forensic artist. Each woman described themselves much harsher and less attractive than they really were. The video was shared more than 3.1 million times during the viral campaign. To date, with view count that keeps on growing, the video has been watched more than 67million times. The emotion, personal feel, and power of the story it tells makes it a compelling piece and hugely shareable.

SoulCycle is 45 minutes of not just pedaling, but also handlebar push-ups, light weight-lifting, and a message of spiritual enlightenment set to a mix of the latest earworms. SoulCycle has a power, through their story to compel people to pay close to the price equivalent of a monthly membership at your typical gym, for one 45-minute class.

SoulCycle started with a story: two busy, ambitious women couldn’t find a cardio routine that “made their hearts sing” in New York City. So they decided they should start their own indoor cycling studio, emphasizing a full-body workout and spiritual component. They rented a 72nd street space from Craigslist, folded their own towels, and passed out flyers on the street. They knew every rider who came through their doors.

Today, SoulCycle has 17 studios around New York and LA. Their blog and social media channels tell the stories of both instructors and riders and further deepens the sense of community amongst them.

Who leads your pack? Inspires you? Shares the journey with you? Share a photo with #FindYourSoul to tell us about the instructors that push you and build you up. A post shared by SoulCycle (@soulcycle) on May 30, 2017 at 6:43am PDT

GoPro has allowed us to see the world from new sights, heights and angles like never before. But it was in 2014 that they saw the power that an emotional brand story can hold.

A firefighter saves a kitten from a smoke-filled home. The whole story just happens to be recorded on the GoPro attached to his helmet. They took this emotional and capturing video of a firefighter, Cory Kalanick resuscitating a small kitten back to life. The video went viral and over the years has gained them millions of views online.

GoPro didn’t have to list out any features, or really even show the product. They just simply showed what their camera can catch and just how people, such as Cory can be hero’s, like their hero branded range.

If your customer connects with your brand story on an emotional level, they will want to be part of it.

Would you like to learn more about brand storytelling and how to uncover your company’s “magic slice”? Get in touch  here,  and call in to our new story studio!

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can i get uhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh — McDonald’s (@McDonalds) October 28, 2020

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1 introduction, 2 literature review, 4 a case study of the shanghai memory project, 5 discussion, 6 conclusions, author contributions.

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Reconstruction of cultural memory through digital storytelling: A case study of Shanghai Memory project

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Yaming Fu, Simon Mahony, Wei Liu, Reconstruction of cultural memory through digital storytelling: A case study of Shanghai Memory project, Digital Scholarship in the Humanities , Volume 38, Issue 4, December 2023, Pages 1522–1535, https://doi.org/10.1093/llc/fqad044

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This article analyses how digital storytelling (DS) is applied to a digital humanities (DH) research project. It considers the purpose of storytelling and illustrates its use to help to democratize the wider project by including diverse voices and helping to reconstruct cultural memory. How can DS be used as a critical research method to help develop a robust methodology in DH research, particularly for organizing historical and cultural resources to form a story world and addressing biases in the established archival collections? This initiative is the latest phase of the Shanghai Memory project, adding an important additional dimension to the established showcase, A Journey from Wukang Road . Wukang Road, with many historical buildings going back to the colonial era, has important cultural significance as part of the former French Concession. Originally known as Rue de Ferguson , the name was changed in 1943, at the time of the Japanese occupation, seemingly as part of anti-colonial sentiment while China was being encouraged to resist her occupiers. Participation in the storytelling project is facilitated by user generated content and promotion in the Shanghai Library. The aim is to present a clearer storyline about the evolution of Wukang Road, explore its historical context, use the stories and reflections of the ordinary people to balance that of the elites, importantly encouraging inclusion of the vernacular Shanghainese dialect as part of wider movements to protect local languages.

From classical narrative theory, usually traced back to Aristotle’s Poetics , to modern theories such as post-structuralism in the 1960s, narrative and the study of storytelling has always been a crucial science in literary research ( Armstrong and Tennenhouse, 1993 ). However, the form of the narrative never matches any specific literary genre, and in its essence, any record relevant to human expression, creation, interpretation, and construction can be regarded as narrative—that is, a series of symbols and media with internal logic. It is an act of communication between the storyteller and the audience/listener.

The act of storytelling can be interpreted as a means of describing and presenting concepts or events in a logical and coherent way to easily reach the listeners and be widely disseminated. Although it may be true that a straight line is the shortest distance between two fixed points, when it comes to two people, it would perhaps be more accurate to say that a story is the shortest distance between them, something that can unite and bring them closer together, particularly if the experiences within the story are shared. Effective storytelling is based on the full participation of the self and of others, offering a mechanism for expression that resonates cognitively and emotionally among the listeners ( Chaitin, 2003 ). As an approach to construct and express meaning, storytelling can also be seen as a process of reconstructing memory, the past as well as the culture of individuals, groups, and communities. For the audience, it can be a process of understanding and reinterpreting their lives and experiences, evoking corresponding emotions and thoughts, and spreading other related effects such as interactions and discussions among the listeners, prompting reflection and encouraging creativity ( Bizzini, 2013 ). Storytelling is a way in which we can make sense of things, understand our world and our place in it. Telling stories also allows the teller themselves to reengage with their memories, opening up those neural pathways to past emotions through episodic retrieval ( Rugg and Vilberg, 2013 ), and perhaps find new meaning themselves; a way for the teller, not only the listener, to make sense of things ( Münster et al. , 2019 ).

In the process of investigating and studying human expression and creativity, humanities scholars have always sought appropriate ways to present, reconstruct, and disseminate human narratives in different settings, and cultural memory institutions play an essential part in this. Cultural memory institutions such as galleries, libraries, archives, and museums (GLAM institutions), as repositories for the human record and creativity, possess cultural resources that are themselves collections of various forms of human narrative. They need to find appropriate ways to fully present, reconstruct, and disseminate them. Works of art tell a story, both with their content and provenance, as do the records held in archives, both local and national. Since the 1990s, the digital turn has brought about a methodological and epistemological shift in humanities research and also the practice in GLAMs ( Barber, 2016 ; Daković, 2021 ). The concept and method of digital storytelling (DS), as a branch of storytelling, finds its way in creating, expressing, interpreting, and sharing stories by digital tools and new media forms. These provide new possibilities to engage narrative contents more widely, digging down to find knowledge that was always there but never before included in the story ( Malita and Martin, 2010 ).

This study builds on previous research on the Wukang Road as part of the Shanghai Memory project. 1 It moves the research to the next planned level which is to engage with local people and to bring in their voices to help to reconstruct cultural memory. It examines how DS can support the reconstruction of cultural memory and asses its value, both epistemologically and methodologically, as a sub-part of an extensive digital humanities (DH) project. It also provides a new angle of approach to help us better understand how these methodologies can support post-colonial research within the wider picture of Shanghai’s memory. This article draws on extensive published literature and reflection about DS and its relationship with cultural memory. It analyses how DS as a technique is applied to encourage and facilitate cultural memory reconstruction as part of the Shanghai Memory project, hosted at Shanghai Library.

2.1 DS as democratization of culture

From the perspective of media evolution, human expression and narrative have gone through four key stages: the oral age, the chirographic age, the print, and the digital age ( Ryan, 2004 ). ‘The medium is the message’, as the communications theorist Marshall McLuhan claimed; ‘the personal and social consequences of any medium […] any extension of ourselves—result from the new scale that is introduced […] or by any new technology’ ( McLuhan, 1964 , chapter 1). Storytelling, with its roots in the pre-literate oral tradition, as one of the primary forms of human expression, depends heavily on the medium, and the evolution of media driven by technology constantly provides new forms and possibilities for expressing, creating, delivering, and sharing stories. ‘Narratives are everywhere. We tell narratives about ourselves, and we make the world meaningful through storytelling. We position others through the narratives we tell and are positioned by stories told about us’ ( Forchtner, 2021 , p. 314).

The theory and practice of DS have been developing steadily since the 1990s thanks to the development of the interactive web, with its possibilities for user-generated content (UGC) and participation, and the advancement of multimedia technology. The concept of DS was first conceived and developed in the field of media, with a focus on audio–visual story creation using digital media ( Lambert, 2018 ). Following this, ideas and practice extended into multiple fields such as public history ( Burgess and Klaebe, 2009 ), and education ( Robin, 2008 ), where there is a close relationship with human narrative. These fields discussed the possibilities for DS as they encountered the digital turn which prompted the move from traditional storytelling approach and techniques into the digital sphere and brought about epistemological as well as methodological shifts ( Noiret, 2018 ). In the media field, it first got attention in popular movements using multimedia digital tools to help ordinary people tell their stories and has since been used in journalism and media studies to refer to various emerging forms of DS. In public history, the reproduction and reconstruction of historical memories generated through the use of DS can be seen as an important addition to both official and private collections concerning local communities ( Conrad, 2013 ). In education practice, it is regarded as an effective teaching tool for enhancing the interaction between students and teachers, encouraging dialogue between the two, and helping students understand important concepts and knowledge ( Robin, 2008 ; Smeda et al. , 2014 ).

DS, understood here as a movement or method for creating, expressing, interpreting, and sharing stories and personal experiences with the use of digital tools and new media forms, has been viewed as a democratization of culture ( Burgess, 2006 ). As both consumers and participants of mass media, people publish, share, and disseminate their daily life, experiences, personal stories, and all kinds of subjective reflections through digital means, all of which can be seen as typical DS practice. These reflections are then transformed into the public domain through social media, becoming part of the mass culture; therefore, DS is regarded by many media researchers as an important way of embodying folk creativity with the assistance of new media forms ( Burgess, 2006 ). From the perspective of media research, the act of storytelling itself can be closely related to the expression of social rights and unequal power distribution; the act of storytelling in traditional media channels often lacks the ability to fully represent society, thus the emergence of DS is argued by some be a part of social justice movements that challenge the power of the mainstream discourse ( Canella, 2017 ). As Castells (2011 , p. 773) argues, ‘wherever there is power, there is [what he calls] counterpower’, and DS can be used as a powerful tool in the ‘ways in which narratives are crafted and […] the struggle over how dominant paradigms are established, reinforced and [also importantly, how they are] resisted’ ( Canella, 2017 , p. 26).

The underlying ethos of the project is that everybody has a story to tell, and these personal stories have an intrinsic value as a trigger for memory […]. What lies at the heart of each story is that person’s unique voice—telling us about the people, places and events that are important in their lives. ( Bristol Stories, n.d. )

GLAM institutions, working with local communities, such as the above, use DS as one of their essential tools for collecting important pieces of evidence and material for preserving the memory of the community. These contain more diverse and efficient memory materials than the traditional single-form historical records used in the past, such as scattered textual archival records, undigitized old photos, untranscribed oral history materials (audio and video recordings), and so on. Despite the ongoing discourse and practice of DS in education, history, and media research, its theory construction in DH and its practice in GLAMs are still at an exploratory stage. Nevertheless, it has been suggested that DS can be repurposed for DH research as a new way of thinking and approaching research, and for updating the DH paradigm epistemologically and methodologically ( Barber, 2016 ). DS provides new opportunities for DH as both academic fields seek to encourage dialogue, make the world comprehensible, and discover new ways of interaction with the support of digital tools ( Barber, 2016 ). DS, as part of the research toolkit, can also serve as a bridge between cultural heritage and DH with ‘space and time as shared concept[s]’ ( Münster et al. , 2019 , p. 814). DS helps us to analyse cultural heritage with the historical and cultural background that is linked to it. Repurposing ideas from Mikhail Bakhtin’s theory of Chronotope, the dispersed semantic elements that appear in the stories embedded in cultural heritage can be structured based on the dimensions of time and space ( Lawson, 2011 ). DH methods provide semantic tools such as Resources Description Framework and linked open data to structure the cultural heritage data and so that stories can be retold in temporal and spatial dimensions. The digital method is also claimed to be useful in activating audience participation, which also brings additional value ( Münster et al. , 2019 ). As an important source of materials with research potential, cultural heritage collections preserved in GLAMs provide DH practitioners with great potential to reconstruct knowledge and cultural information, add new possibilities to their scholarship, discover hidden knowledge, and support knowledge creation with audience participation through the lens of DS.

2.2 From collective memory to cultural memory

Memory is dynamic and complex to analyse. There are many derivations of memory concepts, such as collective memory, social memory, cultural memory, public memory, and so on, which demonstrate the diverse principles, scope, and layers involved. Maurice Halbwachs proposed the concept of collective memory by analyzing the three sociological categories, which he described as family, religion, and class; and specified the oppositional relationship between individual memory and collective memory: ‘autobiographical memory’ and ‘historical memory’ ( Halbwachs, 1980 , p. 50). He asserted that individual memory not only impacts on shaping a person’s identity, but also the way in which they respond to their society; in addition, despite the effects of individual memory, collective memory evolves within its own pattern, and any personal memories can potentially be changed and transformed in this process without any awareness ( Halbwachs, 1980 ). Also, individuals ‘extend [their] family memory in such a way as to encompass recollections of [their combined] worldly life’ ( Halbwachs, 1992 , p. 81). Consequently, an important function of memory within society is that it brings people who share similar memories together; that is in the collective memory which forms a part of the bonds ‘based on social union’ that strengthen the ties of association and common interest within the community ( Tönnies, 2001 , p. 131). Additionally, Halbwachs claimed that memory not only exists in the private and individual realm, but collectively at a societal level with the definition and formation of relationships in social networks ( Halbwachs, 1992 ). Recollections of memory may differ between individuals, but they help us to understand ourselves within our shared cultural context. In addition, spatial elements (places, locations, roads, architecture, and so on) play an important role and act as triggers in the construction of social and cultural memories ( Stanković, 2014 ).

what is stored in historical archives is materially preserved and catalogued; it becomes part of an organizational structure, which allows it to be easily sourced. […] The archive, therefore, can be described as a space that is located on the border between forgetting and remembering; its materials are preserved in a state of latency, in a space of intermediary storage. ( Assmann, 2008 , p. 103)

To interpret the inert knowledge hidden in the memory archives, it can be inspected and reclaimed by situating it in a new memory context ( Assmann, 2008 ). Moreover, the feelings experienced in places that carry the passage of time and historical events are more vivid than those experienced by reading. The physicality of place combined with personal history and experience can trigger powerful emotions. Moving through a space ‘at a particular time, in a particular way […] might deepen our understanding of human interaction with [that] place more broadly. It means communicating these things meaningfully as stories or arguments’ ( Dunn, 2019 , p. 156).

This article examines how DS has been used as a critical research method in the DH project A Journey from Wukang Road , initiated by Shanghai Library.

The site of Wukang Road and its associated buildings, the celebrities that lived there, the historical events, and other recorded knowledge are the research objects. The project uses knowledge organization methods, linked data, and UGC to extract, link, and create narrative elements and relevant details about people, events, activities, and historical changes. It also explores DS as a DH research method and discusses its uniqueness and value in DH research compared with its application in other fields. The data in this project are pulled from the extensive library resource collections, including newspapers, old photos, books, maps, videos, and audio recordings. Through a discussion forum, users are encouraged to input information about their stories, memories, and thoughts about Wukang Road and its history. This constitutes the UGC part of this project. In this way, the project aims to reconstruct and restore the historical evolution of Wukang Road over more than 100 years.

By using Semantic Web technologies, the wider project has constructed a data infrastructure that supports the knowledge organization and presentation of the city memory. The knowledge organization method combines the Bibliographic Control and Authority Control of the library along with the technical ontology proposed by W3C providing an implementation scheme ( Xia et al. , 2021 ). The implementation of the semantic technologies, knowledge organization, integration, and the data stack is comprehensively described in an earlier publication, which is openly accessible, by the team at Shanghai Library. 3 Through describing the relationships between the different types of sources and resources, the ontology creates the necessary connections to achieve their integration across the various institutional fields ( Fig. 1 ). By organizing cultural resources based on their narrative elements, the evolutionary history of Wukang Road can be reconstructed with a more complete and clear story line. In addition, it also engages citizens by having them upload photos and personal accounts of their own individual memories and experiences of the road; this creates or rather restores a rich picture of diverse voices from the community and challenges the established historiography.

The ontology model used for A Journey from Wukang Road project

Building on the previous scholarship on Wukang Road, this project adds an additional dimension and explores how DS as a primary research method is used to reconstruct the cultural memory of Wukang Road. The project borrows the essential concepts in storytelling and narrative research including storyworld , characters, plot, and narrative structures ( Roine, 2019 ) and uses them for the construction and delivery of our resources related to Wukang Road. These are then displayed through digital techniques, such as the world-building on the user interface, the timeline tool, and image gallery. In building the project, ‘while the author creates the storyworld through the production of signs, it is the reader, spectator, listener, or player who uses […] a finished text to construct a mental image of this world.’ ( Ryan and Thon, 2014 , p. 3). The project website is constructed with the goal of evoking users’ memory of Wukang Road by organizing the historical elements into a storyworld with persons, events, architecture, and other related objects that witnessed the evolution of the road ( Fig. 2 ). Space and time as dimensions are consciously used to reorganize historical materials and retell the story by digital means ( Dunn, 2019 ; Münster et al. , 2019 ).

The Storyworld of Wukang Road

Through the process of collecting, organizing, storing, linking, and displaying historical and cultural information with the support of digital tools, this project is in essence a process of attaching consciousness and various perspectives to the past. It supports inference from the existing resources to supplement and discover hidden and unlocked knowledge by using the memories of the people connected with it. Knowledge that was always there but that has never before been recognized or included in the story.

Wukang Road, situated in the former French Concession of Shanghai ( Fig. 3 ), is well known as the home of many historic buildings going back to the colonial era, with each one having its own unique cultural and historical story. This road, 1.17 kilometre in length, includes thirty-seven government-protected historical buildings and has witnessed the lives of over 200 celebrities, reflecting the style and features of the old Shanghai ( Street Stories-Wukang Road, 2018 ) ( Fig. 4 ). A centrepiece of the Shanghai Memory project is A Journey from Wukang Road , 4 which is tasked to explore its historical evolution over more than 100 years. It does this by using the historical resources and collections pertaining to Wukang Road and its related history, held primarily in Shanghai Library, and the memories of people connected with it.

A map of Shanghai showing the former French Concession

Source : Jonipoon, CC BY-SA 3.0 via Wikimedia Commons. https://commons.wikimedia.org/wiki/File : FormerFrenchConcessionMap.jpg .

Map detail showing Wukang Road and points of interest there

Source : Shanghai Xuhi, District People’s Government, https://www.sohu.com/a/500361662_121124215 .

At the top level, the Shanghai Memory project brings together many aspects of memory construction as part of a comprehensive programme of cultural heritage management to reshape the history of the city ( Xia et al. , 2021 ). The wider project identifies the material culture embedded in heritage objects and, supported with sources, makes ‘literature the historical witness for the material cultural heritage objects themselves’ ( Xia et al. , 2021 , p. 844). The focus of the formal literary accounts (presumably shaped by the elites), however, is very different from the more personalized experience of the citizens, or in other words, the history of the people.

This DS project derives ideas from Bakhtin to build a narrative Chronotope that organizes the dispersed semantic elements and diverse types of materials (old photos, buildings pictures, audio recording of Shanghainese , and textual information) that inform the history of Wukang Road and arrange them in the dimensions of time and space to give the users a quick and easy way into the story ( Lawson, 2011 ). In addition, the project website was built to bring together the three dimensions of memory (the conteporized past), culture, and the group (society) to organize and construct resources as proposed in the theory by Assmann and Czaplicka (1995) . The buildings themselves are monuments to the formal history as part of the urban cityscape, and the ‘road is the smallest unit of urban geography [while] another focus of urban memory is the space-time structure’ ( Xia et al. , 2021 , p. 849). Deriving thinking from postcolonial studies around critical ‘re-reading’ and ‘re-writing’ of the colonial past along with the continuing effect of memory ( Ashcroft et al. , 2002 , p. 221), the project recognizes and tells the holistic story of the past.

4.1 Historical context

Wukang Road itself has deep cultural significance within the historical context of Shanghai and particularly concerning the Western colonial powers. It is arguably symbolic as a part of throwing off the dominance of the Europeans. Hence, the voice of the Shanghai people is important and particularly so for Shanghainese which was the dominant language in the region before it was replaced by Mandarin as the official language of China in 1949 ( Chen and Gussenhoven, 2015 ). Despite the dominance of Mandarin, the vernacular Shanghainese remains popular among locals as a way of confirming their identity as indigenous people ( Shen, 2016 ). The naming of cities, towns, streets, and urban districts has a strong political impact; renaming them ‘have long been key strategies that different political regimes have employed to legitimize spatial assertions of sovereign authority, ideological hegemony, and symbolic power.’ ( Rose-Redwood et al. , 2017 , Abstract). Following the Treaty of Nanking (1842), Shanghai was divided up into the International Settlement, the French Concession, and the Chinese city, ‘each operating under its own laws and regulations’ ( Scheen, 2022 , p. 9). This was the first of a series of unequal treaties following wars with Western powers and later Japan, resulting in a significant loss of control over aspects of domestic development. Although still sovereign Chinese territory, under the treaty, the land in Shanghai was rented by the foreign colonialists ‘in perpetuity’ with many of the legal rights passing to the ‘foreign municipal authorities’ ( Mou, 2012 , p. 148). The colonial powers enjoyed extraterritorial privileges within these areas of Shanghai, and each maintained a court to oversee trials of their own nationals ( Pratt, 1938 ).

Within the French Concession, Wukang Road (武康路) was unnamed at its construction in 1907 but known locally as Rue de Ferguson , after the funder. The records suggest that it was originally constructed as a housing development by John Calvin Ferguson for staff at what is now Shanghai Jiao Tong University and soon became a fashionable home for the city’s growing wealthy population ( Qiao, 2015 ). This was part of the early Twentieth Century expansion of what is known as the former French Concession in a mainly Western architectural style ( Mou, 2012 ) ( Fig. 5 ). The road was shortened slightly in 1915 ‘when the starting point was changed from the junction with Huashan Road to the junction with Huaihai Middle Road in the south’, and renamed as Wukang Road in 1943 ( Xia et al. , 2021 , p. 849).

Route Ferguson heritage plaque in Wukang Road, building 393 (Author’s image)

The year of the change of name (1943) is significant in the colonial context. In that year, France, along with Great Britain, and the USA, relinquished control of all their extraterritorial concessions in China and the French Concession in Shanghai was signed over by the French Vichy government to the pro-Japanese Wang Jingwei regime ( Taylor, 2020 ; Strauss, 2015 ; HMSO, 1943 ). Following this, the Japanese military government and Wang signed an Agreement on the Return of the Concession and the Revocation of Extraterritorial Rights (关于交还租界及撤废治外法权之协定).

The renaming of many roads and apartment blocks in the French Concession was performed against this backdrop with the legitimacy of the Wang Jingwei regime not recognized or supported by many Shanghai citizens, the Kuomintang (KMT—the Chinese Nationalist Party), the Communist Party, nor the international community ( Taylor, 2020 ). Nevertheless, the Wang regime took back administrative control of the Concession and changed the names of many roads and buildings, mostly named after foreigners, presumably to get rid of the distinctive colonial characteristics. It may have been hoped to demonstrate independence, stimulate a sense of Shanghai identity and integrity, to promote anti-colonial sentiment among the citizens as well as to gain local support for the Wang regime.

Considering the etymology and literary sources, the change of name has considerable significance and hence given attention here. A literal meaning of Wukang (武康) would be armed (or martial ) resistance and coming at this particular time it would be interesting to determine who exactly it was that should be resisted. This name change would have been decided by the collaborationist Wang regime and agreed to by the Japanese and so, arguably, (overtly) resisting the colonials whilst engendering local support by (covertly) resisting the current occupiers. Looking at possible textual sources allows such ambiguity as the name could be claimed to refer to a ‘hilly area’ in the countryside of Zhejiang Province with scenery that looked familiar to Wukang Road. 5 This literary connection would allow a sufficient degree of uncertainty to allow such a name as although Shanghai was officially under Chinese sovereignty effectively it was colonial Japanese rule. Further investigation of the correct interpretation is beyond the scope of this article but, nevertheless, it is pleasing to consider armed resistance at this juncture of Shanghai’s history and the end of the (formal) French Concession, but sufficiently concealed beneath a reference to the countryside to allow it to be accepted and convenient for it to remain after the conflict.

This renaming occurred within the Second Sino-Japanese war with Shanghai under Japanese control since 1937. Japan’s military expansion around Shanghai had escalated in 1941 with attacks on the British-dominated International Settlement coinciding with their attack on Pearl Harbour (which drew the USA into direct conflict with Japan), Thailand, Hong Kong, Malaya, and the Philippines ( Paine, 2012 ). By 1943, Japan had taken Singapore, the foremost British military base in South-East Asia, conquered Burma (Myanmar) and were on the borders of India. The Sino-Japanese war had merged with the global conflict of World War II with Japanese expansion in East- and South-East Asia inflicting a series of military defeats on the Western colonial powers; Australia was also under threat ( Paine, 2012 ). With the Japanese fleet now occupied in the Pacific, reducing the bombing of Shanghai and the surrounding districts from their aircraft carriers, increased Chinese military activity would have had the effect of engaging Japanese troops which could otherwise have been deployed in the other theatres of conflict. It would, then, have been in the interests of the colonial powers to encourage Chinese resistance, in whatever way they could, to put pressure on the occupying Japanese forces.

Other evidence for the Western powers encouraging support from the Chinese in the conflict with Japan, and specifically as an ally of the USA, can be seen with the 1943 Repeal of the (USA) Chinese Exclusion Act. The Repeal was ‘a decision almost wholly grounded in the exigencies of World War II’ and was followed by new legislation allowing limited Chinese emigration under a quota system ( DoS, Department of State, Office of the Historian, n.d. ). The importance of this repeal was emphasized by President Roosevelt, who regarded ‘this legislation as important in the cause of winning the war and of establishing a secure peace’ and a move to ‘silence the distorted Japanese propaganda’, which was attempting to distance the USA and China ( Roosevelt, 1943 ). Increased armed resistance from the Chinese would seem to be helpful to the Allied forces.

Wukang Road was not the only name change at that time and, as above, assigning place (and street) names is a clear political act which to a degree defines ownership. Changing the name of this and many other roads and buildings within the French and other Concessions was arguably an act of re-claiming the districts by assigning Chinese names to the former homes of the colonials. As this was done, despite Shanghai being controlled by the Japanese military, it would have made a strong nationalist statement.

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Social Media Storytelling: 10 Examples of How to Do It Right

Wondering how to use storytelling on social media? Check out these 10 brands doing it absolutely right.

Are you intrigued by social media storytelling? Wondering how to use it to tell your brand’s story?In the grand scheme of things, social media hasn't been around for very long. But, there's no denying that it has evolved leaps and bounds in that relatively short amount of time.When social media first hit the scene, many brands viewed it as just another advertising outlet. As a result, their posts were almost always blatantly promotional. Here's a blurry photo of my product and all of the reasons that you should buy it right now. You definitely don't see as much of that anymore, do you? That's because as the social media landscape has shifted, brands have had to elevate their strategies.Now, it's less about obvious promotions and pushy sales messages, and more about telling a story, establishing a relationship, and eliciting an emotional response from your followers. How do the best brands do that? Through social media storytelling.

What You'll Find in This Article:

• What is social media storytelling?
• 10 brands who leverage emotional social media storytelling:
• Under Armour
• Warby Parker

What is Social Media Storytelling?

Social media storytelling is exactly what it sounds like—using text, photos, videos, and other elements to craft a narrative and engage an audience with a great story, rather than simply presenting facts about products or services.Why is this so effective? As humans, we connect with stories. They resonate with us emotionally. And, as it turns out, emotions are a big influencer in terms of what we purchase. Studies show that the emotional response to an ad influences a person's intention to buy way more than the ad itself.Dawn dish soap provides a perfect example of the power of digital storytelling. At first glance, it's just dish soap, right? It cleans your dishes—simple as that.However, Dawn went beyond that in their marketing efforts by frequently showcasing how their product is used to clean up wildlife that's impacted by oil spills.

Image via Dawn

Those adorable animals and that undeniable good deed tug at our heartstrings, and that emotional response subconsciously increases our fondness for and loyalty to that product.Just how effective is this sort of emotion-centered approach? Well, according to an analysis conducted by the Institute of Practitioners in Advertising (IPA), it's very effective. In looking at over 1,400 case studies, the analysis found that advertising campaigns with purely emotional content performed about twice as well as those with only rational piece of content.Needless to say, while social media isn't used strictly for advertising, brands are increasingly recognizing the importance of injecting emotion into their content in order to engage with their followers and boost sales. RELATED: Want to learn how to schedule your content on Instagram like a pro? Click here for our ultimate guide on how to schedule Instagram posts.

Leveraging Emotional Social Media Storytelling: 10 Brands That Do it Right

Finding the right balance with social media storytelling can be challenging. You want your posts to strike a chord and resonate, but you also don't want to seem slimy or like you're using a cheap tactic.Here's the good news: You can learn a lot about this strategy from some of the best brands out there. Let's dig into 10 examples from different brands who have mastered the art of social media storytelling.

1. Dove DermaSeries

Dove's DermaSeries line is made specifically for people who struggle with skin conditions like eczema, psoriasis, and excessively dry skin.For anyone who's coped with those problems, you could assume that these products that belong to a reputable line and offer a lofty promise will essentially sell themselves.But, Dove doesn't rest on its laurels. And, considering that these medical conditions can be somewhat sensitive topics for some, they also don't take an overly-aggressive approach with their marketing.Instead, they dedicate their social media accounts to sharing snapshots and real stories of their customers. It's an equally moving and relatable tactic that speaks directly to their target market in a way that's highly encouraging and empathetic—and never overly salesy.

Image via Dove DermaSeries

2. Google's #YearInSearch

You could argue that Google doesn't really require much marketing at this point. But, that doesn't stop the search engine from consistently finding new ways to engage its followers.One great example? The #YearInSearch campaign, which highlights many of the things that users were frequently searching for throughout the previous year.Google took that data and spun it into social media posts that were positively heartwarming, such as this post that emphasized that users were searching for "good" more than ever before:

Image via Google

They were able to create a short clip that quickly reminds you of all of the positivity that's still out there in the world. And, in scrolling through the comments on the post, it was exactly what their followers were hoping to see.

3. Gillette

There's no shortage of brands who work with celebrities for endorsements. But, attaching a famous face to your product usually isn't enough to send your sales skyrocketing. The endorsement strategy is most effective when you can also tell an emotional story.That's exactly what Gillette did when working with Shaquem Griffin, a linebacker for the Seattle Seahawks who is missing his left hand as a result of amniotic band syndrome.Gillette didn't use Griffin to pedal razors or talk about getting a nice clean shave. Instead, they leveraged his story to send a message about overcoming obstacles and becoming the very best version of yourself.

Image via Gillette

The result is an entire campaign that's far more hard-hitting and inspirational than if they had just chosen to have Griffin promote their razors.

4. Apple's #ShotoniPhone

Apple is no stranger to effective marketing strategies . But, while you might think a peek at their social media accounts would lead you to a bunch of sleek and heavily-styled photos of their products, the opposite is actually true.Particularly on Instagram, Apple takes a far more down-to-earth approach by sourcing user-generated content through the #ShotoniPhone hashtag. Whether it's a gorgeous wildlife shot or a quirky selfie, they dedicate their account to showcasing and sharing stories about what their followers are seeing and experiencing.

Image via Apple

For a brand that often runs the risk of coming off as elitist or untouchable, this approach leads to a social media presence that strikes the balance of still being aesthetically pleasing, while also seeming interesting, connected, and highly relatable. Want to plan a gorgeous feed like Apple's? Sked Social's Instagram Grid Planner allows you to craft an appealing and cohesive look across your entire grid.

5. Tide Loads of Hope

Much like Dawn dish detergent, Tide could dedicate all of their marketing messages to how well they get the cleaning job done. But, the brand knows that an emotional appeal is far more effective.Their Tide Loads of Hope campaign is a way for them to serve others, while simultaneously keeping the audience engaged.  This community program involves what is essentially a mobile laundromat that travels to different areas in the midst of disaster and does free loads of laundry for people in need.

Image via Tide

The brand frequently posts about where they'll be heading to next on social media—both to inform people who are in need of the service, and to emotionally connect with people who applaud the good work they're doing.

6. Always #LikeAGirl

Always took the promotion of feminine care products and transformed it into a message of total female empowerment through their #LikeAGirl campaign.Determined to take the phrase "like a girl" and turn it into something positive, Always has crafted numerous social media posts that showcase girls and young women doing amazing things.

Image via Always

Let's face it—few people are going to get excited about feminine products, and it's likely that the only emotion they'll inspire on their own is misery. So, Always' strategy of associating themselves with a larger, far more positive cause is a great example of effective brand storytelling.

We all love our four-legged friends, and this is an emotion that BarkBox capitalizes on effortlessly. Most of their social media posts don't even showcase their products. Instead, they post tons of photos and videos of various dogs doing adorable things.Without a doubt, it works. Check the comments on their Instagram posts, and you'll see users tagging other dog-lovers, reacting with emojis, and even chatting about their own beloved furry friends.

Image via BarkBox

In short, BarkBox is able to immediately pull an emotion of total love and adoration out of their followers—which might lead to them wanting to reward their own precious pooches with something special from the brand. BarkBox is also great about posting on a consistent schedule. Need help sticking to your own calendar? Sked Social's Instagram Scheduling can keep you on track.

Anybody with even a hint of wanderlust wants to follow Airbnb on social media, just to see all of the amazing properties that they showcase.From a tiny cabin on a horse farm to a penthouse condo in Hawaii, their Instagram account is full of gorgeous snapshots that make followers wish they were there.In some ways, you could say that this is still directly promoting their service—since all of the properties are actually available on Airbnb.However, the brand isn't overt and instead dedicates its captions to describe the unique features of the property and the experiences people will have if they choose to stay there. In doing so, followers picture themselves in that location and immediately have a desire to travel.

Image via Airbnb

9. Under Armour

As a fitness apparel and gear company, you'd expect to see plenty of workout-related posts on their social media platforms.But, what might be less expected is how the brand is able to inspire you and immediately kick up your level of motivation. Under Armour does this through a mix of different content, including daily workouts, tips, and fitness challenges.Rather than simply promoting their products, they use their social media accounts to encourage their followers to get up, get moving, and improve themselves. The result is a highly energizing social presence that followers keep coming back to.

Image via Under Armour

No matter what, you should keep a close eye on how your new marketing tactics and strategies are performing. Sked Social's Analytics and Reports make it easy to do just that.

10. Warby Parker #WearingWarby

Warby Parker sells glasses. But, their social media accounts are about so much more than frames—they're about the people who wear them.One solid example is the brand's #WearingWarby series, a collection of profiles and short videos highlighting some of Warby Parker's amazing customers. From professional dancers to designers to activists, this campaign makes the brand far more approachable and relatable than if they had just showcased their frames being worn by paid models.Through these posts and profiles of their customers, Warby Parker could connect with their audience while also showing that their products are truly made for everyone.

Image via Warby Parker

Emotional Storytelling: A Powerful Social Media Strategy

There's no doubt that emotional storytelling is what will elevate a brand's social media presence and enable them to better connect and engage with their followers.But, that doesn't necessarily mean it's easy. In order for this tactic to be effective, the narrative a brand weaves must:

• Be creative. Don't hesitate to think outside of the box! As the above examples show, challenging yourself to think outside the typical constructs of your brand can result in a truly amazing social media marketing campaign.
• Be relevant to your product and messaging. While creativity is crucial, totally irrelevant storytelling on Instagram will only be jarring to your followers.
• Be relatable. Emotional storytelling is a way to connect with your fans and followers, so find those stories on social media that make them feel seen, understood, and supported.
• Be emotional —but that doesn't necessarily mean tear-jerking. The emotions you weave into the story can run the gamut from fun and lighthearted to empowering and inspirational.
• Be authentic. For this strategy to truly resonate, it needs to be genuine. Followers can see through a cheap marketing ploy from a mile away.

In addition to implementing the above tips, when using this strategy for yourself, one of the best places to get started is by looking for inspiration that will get your own creative juices flowing. The brands we've pulled together here are a perfect source for helpful lessons and takeaways. Want another way to take your Instagram and social presence to the next level? Sign up for a free trial of Sked Social today.

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This article has been reviewed and updated to ensure the information provided is accurate and up to date.

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Huggies Case Study: How to Elicit Natural Storytelling for Maximum Impact

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An intrinsic piece of great marketing that we stress at GroupHigh is honing in on the value of acquiring and creating authentic content and fostering a genuine love of one’s brand.

Without this crucial backbone, marketing with influencers is moot.

I always like to remind everyone that you’re not marketing your brand, rather, an experience with your brand.

I was fortunate enough to sit in on a talk from Kendra Simpson of Ogilvy on how she and her team ran a phenomenal outreach campaign for their client, Huggies .

A Solid Goal

Huggies and Ogilvy set out with a goal to establish a connection with expectant moms. To engage with them before they had their babies.

There is great value in planning ahead. Be on the minds of your target consumers in a way that emotionally connects with them before they are making their purchase decisions .

Spoiler alert: Olgilvy accomplished this goal by planning ahead with smashing success for Huggies.

They planned to create a video portraying a true story that captured the raw experience of motherhood. This video was to be paired with native and word of mouth advertising techniques  that would serve as the backbone of the campaign.

Through their campaign, “Delivering Hugs,” Huggies and Ogilvy created a viral video that triggered an emotional response from anyone with a soul—especially expecting mothers.

Locating the Perfect Real Stories

To find the right story for their video, Ogilvy worked with Baby Center to reach out to expecting moms and collect stories about their upcoming family additions to use in their video content.

Of the many amazing stories they gathered, one that really spoke to them was from an expecting mother who wanted her sister to be there for the birth of her son.

Unfortunately, her sister couldn’t afford the travel expenses.

Thus, Huggies ended up surprising the new mom with the arrival of her sister in the delivery room and captured it all on film to create a video viewed by millions.

At the conference, they shared the video which had half of the room in tears—proving that the video did it’s job.

You definitely want to check out the video here .

Finding the Right Sharers and Showing Them Some Love

Obviously, a phenomenal video isn’t enough to make a campaign successful .

It has to be placed in front of people with a reach and voice to talk about the “awesomeness.” If not, it’s like that whole tree falling in a forest analogy. It took place, but no one heard it so who cares?

Don’t let your video be the awesome tree that makes a glorious thud in the forest that no one knows about.

To find the right sharers of their Hugs Delivered video, Kendra and her social team placed the video on YouTube and Facebook and incentivized sharing of the video through offering coupons for money off diapers.

To utilize the tactic of showing appreciation for brand fans who help spread a message, a limb of this campaign was that every time someone used the hashtag #HugsDelivered, Huggies donated diapers to the National Diaper Bank Network to help babies in need.

Social Presence Isn’t Enough to Keep an Audience Engaged

One of the things that resonated with me from hearing Kendra talk about her campaign is that social presence is not enough to keep an engaged audience .

More than traffic, followers, and social footprint, social initiatives should focus first and foremost on content that is not self-serving .

To increase brand engagement, the content should encompass an experience pertaining to a brand and cater toward the audience.

“I think Hugs Delivered really validated what strong creative content and a compelling call-to-action can do for a brand’s social embassy,” Kendra explained when I talked to her after the campaign.

“You can have a million plus fans, but if you are only offering self-serving content, there is no reason for your fans/followers to engage.”

I love this case study because it really demonstrates the value of authenticity and natural storytelling . Whether you’re marketing to moms, tweens, lumberjacks or single men—this example of great outreach marketing reminds us to keep one simple fact in mind. Just market to humans as another human. It really is as simple as that.

Do you have a great outreach marketing example? I’m a case study junkie and would love to hear about your example in the comments. Let’s collaborate!

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9 Brands Using Social Media Storytelling the Right Way

December 6, 2022 By John Lincoln

Successful brand storytelling is a key component in social media marketing.

How to tell it? That’s up to you. But in case you need a little inspiration, here are nine brands that have excelled in the art of social media storytelling.

What We’ll Cover:

• Why storytelling is important to brands
• Humans of New York

Why is Social Media Storytelling So Important?

Stories have long been a part of our culture.

They predate television, social media, and the internet, and they hit us on an entirely different level. Why? Because they’re emotional, relatable, and captivate us in some way.

That said, not every story resonates with everyone. Some want an adventure, while others dig a romance or want to be taught a lesson in the end.

Social media storytelling is no different. It should be emotional, relatable, and captivating to your target audience. Who you’re speaking to will shape the outline , message, and framing of your story. To make sure you hit your mark, you need to do some research into your potential audience and the things they enjoy.

A successful story is well worth any research or production effort. Storytelling for social media has the ability to connect you more closely to your customers and speak to them in a way that isn’t about the product itself, but rather the emotions and feelings surrounding it.

When done right, a story will clearly establish the core values of your brand, and offer your customers an experience surrounding those values. Your audience will feel more connected and loyal to your brand when they know the stories behind it.

Take a look at some of these brands and their social media examples .

1. Social Storytelling: Humans of New York

Why it Works

With almost 18 million followers on Facebook, Humans of New York is one of social storytelling’s biggest success stories. What started as a New York City photographer telling stories of random strangers on the streets of New York City has exploded into massive brand success, including a best-selling book and travels to over 40 different countries.

This works because creator Brandon Stanton hits all three marks. The content is emotional, reliable, and captivating. Often, he breaks people’s stories into multiple posts to encourage his readers to come back and hear more of the story.

Humans of New York built a wildly successful brand entirely from social media storytelling while also opening our eyes to how other people around us live.

Key Takeaway

Focus on real humans and their stories. Grab people’s attention with emotional and educational content.

2. Dove: Social Storytelling

Dove’s been killing the storytelling campaign game for quite some time now. A lot of that has to do with Dove’s rejection of the use of supermodels or airbrushed ads like the rest of the beauty industry.

Instead, they focus on real people with real stories. One of their most successful campaigns showcased women embracing their curves and different stages of life. That doesn’t mean Dove’s storytelling style didn’t come without controversy. Many people pushed back on its wildly successful 2013 “Real Beauty” campaign.

Regardless of the criticism the beauty company received, it persisted because its campaign and its relatable content were making a difference. By tapping into the all too common emotional feelings of insecurity, women everywhere could see themselves in this campaign. It resonated with them.

But Dove didn’t stop there. To regain a male viewership that felt woefully out of touch with the “Real Beauty” campaign, Dove launched its “Men Care” campaign, which focused on a military man on deployment who missed his child. So Dove took the opportunity to bring his family to him.

Though it did little to promote the Dove product, it did resonate with fathers feeling similar emotions. It doesn’t hurt that the campaign was conveniently launched around Father’s Day too.

Key Takeaways

First and foremost, know your audience. Know their pain points and their struggles, and find a way to address them. This is critical for your story on social media to be effective. 

Second, find a way to bring that human element to your brand. Even if you’re promoting soap, you can still address body and family issues, if it’s something that will resonate with your target audience.

3. Social Storytelling: Heinz

You probably know Heinz for their ketchup. But one of their most recognizable storytelling campaigns is for soup.

It proved so successful, in fact, that the campaign ran in the UK for five years in a row. Talk about successful storytelling!

But Heinz went above and beyond on this one. Each can purchased came with a custom label, allowing fans to essentially send personalized get-well-soon cards, all through the soup label.

The cherry on top? Heinz partnered with Starlight Children’s Charity and donated 1 euro for every can of soup purchased.

This works on multiple levels. Through the brand, it’s allowing fans to help out the ones they love and playing on that emotion of family and healing. That story of connection resonates with everyone; after all, who hasn’t wanted to comfort those that are ailing, and what better way to do this than with a can of soup?

The fact that it also benefited charity added to the story by appealing to people’s sense of humanity. Even better? Heinz let its Facebook community choose the charity. This took the campaign to an even more personal level.

Again, this only furthered the feeling that Heinz was actually listening to and connected to its audience base.

Is it really any surprise the campaign ran so long?

Involve your audience, and make it personal. Heinz was so successful because it played directly on common human emotions.

Think about your brand’s or product’s story, and what emotions it’s connected to. Then, think about how you can use those emotions to tell an effective story.

And of course, if you can find a way to connect your storytelling campaign to a cause, do it. This is good for the cause and your brand.

4. Nike: Social Storytelling

Nike nailed the art of brand storytelling on social media long before it became a marketing trend.

And in 2017, they did it again with their Equality campaign. In it, Nike uses its standing as one of the biggest brands in fitness to shine a spotlight on disparities and inspire people to take action.

Using storytelling through social media, Nike also positioned itself as a powerful force for social change. It’s offering more than shoes and workout gear to its athletes – it’s offering the chance to become a part of the greater good.

So, by wearing a pair of Nikes or even interacting with them on social media, you too are supporting the movement. It’s a powerful message and one that people would be proud to be part of.

Additionally, Nike promised to donate $5 million in 2017 to organizations dedicated to advancing equality in communities across the US.

This social media campaign again draws on the principles of cause-driven marketing. And the effectiveness of such tactics can’t be denied.

According to Forbes , 70% of consumers expect brands to take public action on social or environmental issues.

This number grows bigger when surveying a younger consumer base. Nearly two-thirds of millennials and Gen Z express a preference for brands that have a point of view and stand for something, and 33% of Americans think a company’s reputation is just as important as the products it makes , often being the main reason why they’ve made a purchase from a particular company in the first place.

When it comes to brand storytelling on social media, Nike’s in the know when it comes to cause-driven efforts.

Find a cause that your audience cares about.

Social media storytelling is an especially effective tactic if your audience is in the millennial or Gen Z age range. As a whole, these two generations have embraced the push for social change. 

If you can shape a story around your brand and its support of various movements or causes, you’ll gain a positive reputation and more potential customers.

It doesn’t have to be a social cause. Charities and environmental initiatives are equally effective, depending, of course, on what’s most important to your target audience. It’s important to take a look at many brand story examples to fully understand how to connect your social media storytelling to your target audience.

5. Social Storytelling: Lululemon

Sometimes the most effective way to use brand storytelling on social media is to simply show your product in action.

That’s what fitness super-power Lululemon did with its #justmymat campaign.

The storytelling campaign began with an Instagram brand video showing one woman doing yoga in a variety of settings. It inspired thousands of followers to upload photos and videos of themselves practicing yoga over various parts of the world, all with the hashtag #justmymat.

So why does it work? 

It works because it takes Lululemon’s core product – fitness and yoga clothes – and puts it in different settings and lifestyles. It demonstrates the brand’s story of embracing fitness, no matter who or where you are.

It’s a clever use of a hashtag social media campaign that encouraged users to share their own experiences with fitness and Lululemon. It gave those users a sense of community and gave the brand a lot of social proof to play with.

Sometimes, your story doesn’t have to be any bigger than the product itself.  

Try focusing on one aspect of your brand – in Lululemon’s case, it was Yoga – and bringing it to life for your users in an effective campaign.

6. Intel: Social Storytelling

Another way to use social media storytelling to connect with your followers is to literally tell your brand’s story.

Intel does this well on Instagram, where it uses powerful images and captions to show the brand’s history – its founders, notable employees, initial products, etc.

But sometimes, a brand’s history doesn’t have to be so far in the past. 

Documenting the company’s latest products and how they’re being used speaks to where it is now. When combined with archives from where it started, it helps to paint a complete picture of the brand and shows the company’s evolution over time.

When you see a picture of the first computer being operated in the same feed as the latest drones being used to help marine research, it shows just how far the company has come in a way that words alone can’t.

This is an example of storytelling through social media that helps forge a relationship on a more personal level. 

If followers can see the faces and understand the story behind the brand, it will help to establish common ground and build brand trust.

Show where you came from.

It could be a short story about your company’s origins with an accompanying photo of the original founders, or a time-lapse video showing then vs. now.

Even if your company is somewhat new to the scene, you can still show photos of past and current employees and try to capture the inspiration for your business through quotes and videos through social media storytelling.

7. Social Storytelling: Land Rover

This one takes social media storytelling to a whole new level.

In 2015, Land Rover launched its Vanishing Game storytelling campaign . 

This embodied the spirit of storytelling, as it included an actual, original book launch.

The full-length, adventure thriller was brought to life through mixed media content, including dynamic video, cinemagraphs, photography , animation, sound, music, and narration.

Throughout the story, viewers could engage with keywords that were embedded with imagery and video. 

For example, when a user selected the keyword “ river, ” they could see video footage of a Land Rover crossing a remote waterway.

Interspersed in the experience was actual footage of Land Rover owners on their own journeys, collected by Land Rover through a #WellStoried hashtag social media campaign .

Because of its interactive nature, readers can experience its multimedia through desktop, tablet, or mobile. They were also encouraged to share via social media platforms.

This is one of the most effective  examples for a few reasons. 

First, it tells an actual story that readers can engage and become engrossed in.

Second, it ties in strongly with the brand ’ s reputation. When you think of Land Rover, you think of off-roading and adventure. Driving and that sense of exploration have long been associated with the brand, and they tapped into it brilliantly with this storytelling campaign .

The story resonated quickly with Land Rover owners. It ’ s the emotional highs and thrills that are meant to capture the essence of the brand and urge people to purchase, and Land Rover capitalized on it beautifully.

Clearly, not every brand can invest in something as complex as this social media  campaign.

But every brand can tell a story. 

Think about your brand – how would someone describe it? Fun? Authoritative? Whimsical?

Then, take those emotions and build a story around them. 

Again, it doesn ’ t have to be as intricate as Land Rover. 

Remember what Dove did with its “ Men Care ” campaign? It built a story around emotion and featured its brand name in the forefront.

Find a way to do that with your  campaign, and you ’ ll find a truly engaged audience.

8. Airbnb: Social Storytelling

Another great brand stories exmaple is Airbnb. They have launched a   campaign on Instagram that speaks to their follower ’ s wanderlust. 

They don ’ t just post generic photos on places to stay around the world.

The marketers at Airbnb take it to a more personal level by sharing snapshots of unique properties along with beautifully written captions that describe the special features of the residence with experiences from other guests. 

This technique allows followers to imagine themselves in that particular location. There ’ s nothing corporate about it at all. 

Spark your viewers’ imaginations.

Think about it from a consumer point of view. 

Would you rather stay in a generic room at a hotel that everyone else is staying at, or would you rather have private access to a unique condo right on the beach?  

Airbnb gives its audience a glimpse of a home-away-from-home, which is a wonderful feeling for people who want to get away from the stresses of daily life.

9. Gillette: Social Storytelling

Gillette is well known for using celebrities in its social media  campaigns. 

The best way to do this is to make the celebrity seem more relatable to the viewers. Gillette accomplished this by bringing in Shaquem Griffin, a linebacker for the Seattle Seahawks. Griffin lost his left hand due to amniotic band syndrome. So, instead of using him to sell a bunch of razors, Gillette took this collaboration to a more personal level. 

Their storytelling campaign was all about overcoming obstacles and becoming your best self. While most people can’t relate to losing a limb, everyone can relate to overcoming obstacles and learning how to adapt to their surroundings.  

Inspire your audience.

Nothing moves a person faster than inspiration. 

Getting your audience excited is one thing, but inspiring them to actually take action is better. Gillette managed to do this by promoting a feel-good storytelling campaign with a respected, professional athlete. 

Wrapping Up Social Media Storytelling

Feeling inspired to tell your story?

Good! Social media storytelling is taking over the world of digital marketing for plenty of good reasons. 

If you want to build a more committed and dedicated audience, now is the time to get to work crafting your own social media storytelling campaign. Be relatable, emotional, creative, and authentic .

Remember, focus on your core values and those of your target audience. The overlap will be your sweet spot – so run with it.

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About John Lincoln

John Lincoln is CEO of Ignite Visibility, a top digital marketing agency and a six-time Inc. 5000 company. Lincoln is a frequent speaker, author of Digital Influencer, The Forecaster Method, Advolution, and creator of SEO: The Movie and Social Media Marketing: The Movie. He is consistently named one of the top digital marketers in the industry and has received the Search Engine Land "Search Marketer of the Year" award. Lincoln has taught digital marketing and web analytics at the University of California, San Diego since 2010 and has been named as one of San Diego's most admired CEOs and a top business leader under forty.