Storytelling – “The Red Thread”
There are many ways to get people excited about content. Content sticks particularly well when it is told as a story. People tend to identify with the stories told and carry them further. And that is our goal: that the target group understands the mission and carries it on.
- Who are we successfully telling a story?
- Wo is the difference between storytelling using a graphic, a text or a video?
- Can be summarized in a short Tiktok video convey a real story?
- What is storytelling and what forms are there?
- Weshalb is a common thread so important in strategy and concept development?
These are questions and more that communicators and other people on mission like you ask yourself every day.
We want to take you into the world of storytelling over the coming weeks.
As a matrix agency, we accompany you
Let's start together!
The Red Thread -
It is said that the oldest story in the world is this: boy meets girl. One such boy was Theseus, on his way to the labyrinth of the Minotaur to slay this mythical creature, half bull, half man. One such girl was Ariadne, half-sister of the Minotaur and instantly in love with Theseus the first time she saw him. The fact that no one had yet succeeded in defeating the Minotaur was due not only to the physical advantages of being a half-bull, but also to the tangled labyrinth itself from which no one could find their way out. So Ariadne gave Theseus a thread to tie at the entrance to find out after the fight - a red thread.
In order for recipients to find their way around in stories, they need a common thread, like Theseus. Or the other way around: stories need a common thread in order not to lose the recipients. That was the way it was at the campfire in the old days and it's still the way it is today at TikTok.
Boy meets girl has its right to exist as (perhaps) the oldest narrative. We are people with our own emotional worlds, there is tension in it, for better or for worse.
But what about girl meets boy? Or girl meets girl? Why is the male perspective still the most talked about?
In the series "The Red Thread" we would like to shed light on how this red thread can be stretched, in and across different media. Also with the idea that we can use the tools and narrative media, some of which are thousands of years old, to create new narratives.
The Red Thread -
When we come out of the cinema and say that we could "totally" identify with the main character, then that's only half true. As a rule, we have little in common with stars, don't have Batman's attributes, don't lead Batman's life Carrie Bradshaw and especially when we wake up we look different than the people who do that on screen. The answer to the question of what we actually identify with is the same answer as to the question of what lies at the heart of an exciting story. And it is over 2.300 years old.
Aristotle's "Poetics" was written around 335 BC, was forgotten for a long time and was only rediscovered at the beginning of the 18th century. This led to a veritable revolution in drama, because the narrative structures identified by Aristotle have not lost their validity over time. Not even today.
The action stands above the dialogues
At this point, one thought is particularly exciting. With Aristotle, the myth, i.e. the action, is above the dialogues and the characters. That means it's not the people or what they say that matters most, it's what happens. This action arises from the composition of events that follow one another rather than one after the other. This chain of events is triggered (according to Aristotle) by a mistake made by the main character which inevitably (and this is the important point) leads him into conflict.
What we find exciting, what really interests us and what we can identify with is the conflict. We don't need a New York penthouse to know the challenges of dating, superpowers to feel inner turmoil, and waking up with a perfectly fitting hairstyle to curse the alarm clock. Aristotle speaks here of elos, phobos and catharsis. Of wailing and shuddering when we share the fever when experiencing the conflicts and the cleansing effect when we see how they are resolved. In the best case, so that the main character emerges strengthened. Perhaps in the hope that we, too, will emerge stronger from our conflicts.
Conflicts as a central narrative device
So if conflict is a central narrative device, do we need to build it into all of the stories we tell? In every social media post, in all press releases or image videos? No, not necessarily. Something new can also be worth telling, and a surprising twist can also be entertaining. However, those who care about tension and potential for identification will not be able to avoid conflicts. A current, recommendable narrative pattern is offered here by Joseph Cambell's hero: inside journey.
And yet there is a level in the thought surrounding elos, phobos and catharsis that applies to any kind of storytelling, which can be unfolded in the following quote from poetics: "The whole is greater than the sum of its parts."
The sum of the letters L,I,E,B and E makes the word love. But only through our individual associations, experiences, collective memory, cultural influences and contexts do the letters come to life in us and the word becomes a whole. With all its effects.
Like a single word, all stories (regardless of the form and medium) only become a whole through interaction with their recipients. When we think about what we are going to tell, how and where, it is advisable to always think about the recipients and see them as part of the story. If that succeeds, then the social media post can also be great cinema.
The Red Thread -
Content is king. You hear and read that over and over again. But how does it actually work to prepare good content in an exciting way and thus captivate your readers or viewers?
This article is about how you can use the storytelling principle of the hero: inside journey to present your offer, your strategy or your concept in an appealing way. Almost all well-told, successful stories are based on this principle. Ready for the trip?
The American myth researcher Joseph Campbell found that all good stories – regardless of whether they are Greek odysseys, Arabic fairy tales or religious parables – are similar and follow the same dramaturgy. It's all hero:inside journeys. Why does this principle work so well?
First of all, the hero:heroine is a normal person with whom the reader/viewer can identify. Due to extraordinary circumstances he has to leave his usual world and go on adventures. He:she becomes a person with a mission. It is important to accept challenges, meet friends and enemies, pass exams and gain new knowledge. When he:she returns at the end, he:she brings that knowledge with him and integrates it into his:her world to make it a better place. The identification with the hero:heroine addresses the emotional and not the rational level. Experiencing the adventure “together” strengthens the relationship with the hero:heroine.
The 12 stages of the journey
Let's take a look at the 12 stages of the journey:
- The usual world
The:the hero:heroine lives peacefully in his/her world and has no idea of the challenges that await him:her. However, it can already be felt that something is wrong or missing.
Marketing example: Annika and Thomas live in a cozy small town, they are quite happy with their life, but they are bored in their job. - The Call of Adventure
There are hints that there are more out there. The:the hero:heroine senses that something exciting is about to happen, a mission.
Marketing example: Annika or Thomas receive the offer to set up their company's foreign branch. - The refusal
The hero/hero still refuses to leave the familiar world because there are obstacles in his/her way.
Marketing example: Annika or Thomas are very interested in this offer, but shy away from it because they are not fluent in the foreign language required for it. - The:the mentor:in
The:the hero:heroine meets someone who has already had the experience that the hero/heroine is about to face. He:she encourages him:her to face the challenge and imparts to him:her new knowledge that should strengthen his:her courage.
Marketing example: Annika and Thomas become aware of the website of a language school that promises to perfect this foreign language within a very short time through clear learning units. - Crossing the first threshold
The:the hero:in gathers all his:her courage, crosses the first threshold and begins his:her journey. The hero is now a man on a mission. From now on there is no turning back and he:she must rise to his:her challenge.
Marketing example: The two decide to go abroad and sign the contract. - The first test
The:the:hero:in has to master the first challenges on his:her way and show what he:her is made of. He:she finds friends and tools to help him:her overcome difficulties.
Marketing example: The booked foreign language course turns out to be a good choice. The two quickly improve their language skills. - The low point of the journey
The hero must face his greatest challenge and enter the den of the worst enemy. The story is reaching its climax.
Marketing example: Annika and Thomas accepted the challenge and went abroad to set up the branch. But many obstacles stand in their way. The renovation of the office is progressing slowly and the demands of everyday life seem insurmountable. - The Ultimate Trial/Showdown
The monster must be fought, the hero:in rises to the challenge and this leads to the turning point of the story. If he/she doesn't win the fight, the mission is lost. If he/she wins, the old self dies and the hero is reborn.
Marketing example: The two tackle all difficulties and dare to use their language skills in the new environment. From the initial uncertainty, more and more self-confidence grows, as communication with the locals gets better and better. - The reward
As a reward for victory, the:hero:heroine wins an elixir, a treasure, or he:she saves someone. He:she is surprised by what he:she has achieved and this increases his:her self-confidence. He:she accomplished his:her mission.
Marketing example: Annika and Thomas are happy - they have accepted the new challenge and have surpassed themselves. From now on, they will boldly try new things and have new experiences. - The return
The:the hero:the heroine returns to the familiar world with his:her new insights and impressions.
Marketing example: Annika and Thomas have successfully established the foreign branch and are returning to their home town. - The rebirth
The:the hero:heroine has returned home after his exciting journey. He:she has matured into a new personality through the adventure and now has to prove himself with his new insights in everyday life.
Marketing example: Annika and Thomas are back in their old lives, but they have a different mindset and instead of being bored like they used to, they think about what they can change and improve. - The union of both worlds
The:the hero:heroine is now a:different:different and accepts the challenges of his:her old world with the newfound knowledge of his journey - he:she creates something new.
Marketing example: The two take over the department that deals with the expansion of the company abroad.
So how do you tell good stories? The hero: inside journey is a classic for this and it offers many variants in the design. The clear pattern also aids in creation and provides a guide. Unfortunately, the hero: inside journey is and remains a classic in terms of poor implementation and just as often it plays into the fact that not everyone can identify with every hero or heroine. That means it remains important to send authentic heroes on the journey, who can convey the mission of the institution, but also address the target group.
The Red Thread -
Social media offers countless opportunities to tell stories. That often makes it difficult. Which content goes with which social media channels? It is important to think cross- and multimedia and to plan content and its creation well. So a first and crucial piece of advice: don't try to tell all the messages and stories at once. Your goal should be to recognize the "emotional heart" of a story, transport it and build a story universe around your own brand or project. But where to start? First, answer the following question: What is the key message you want the target audience to remember? Like a puzzle, every piece of content should contribute to this story.
There are 4 rulesto keep in mind for a good story on social media:
- Make every single post, picture or video part of a big story: your mission! The first thing you need to do is find out what the core story of your institution or company actually is. Every piece of content has to contribute precisely to this story and the message.
- Emotions turn good content into excellent stories. Images and videos arouse emotions faster than text. Texts are much more sustainable because they are stored for the long term.
- Create a call to action. A good story has a message. But the passive absorption of information does not always lead to a long-term anchoring of the message. However, when direct activity follows consumption of the story, it sticks longer and is more likely to be carried forward.
- We humans are spoiled when it comes to the quality of content. For thousands of years we have been told stories that drive us to try great things ourselves or break new ground. Who inspire us to become people on mission. Social media and our own little video studio (the smartphone) have increased the abundance of content. So make sure your content is of good quality. There are many tips and tricks on how anyone with a smartphone can increase the quality of their pictures and videos. There are just as many good tricks and training opportunities that help to improve texts.
The pieces of the puzzle tell:
Classic storytelling patterns are also used in social media to convey messages. While entire heroes' journeys are often told on YouTube, the shorter formats on Instagram, TikTok & Co. use the pattern "beginning, climax, end". With all formats, it is important to remember that the puzzle piece contributes to the big story.
The choice of format types to tell stories is endless and evolving with each new platform. Content can be functional or emotional. Functional stories support the need of "I want to know something" or "I want to learn something". There are many possibilities in the realm of emotions. Above all, the recipients’ need for entertainment, curiosity and love are emotions that have a positive impact on the big story in the long term. Hate, jealousy and fear are more often misused as drivers for reach. The stories can be superficial or profound. The latter has a longer service life but is also more complex and expensive.
Come here 13 possible format types to choose from for your stories:
- Questions or FAQs
- How To Videos
- Teasing upcoming content
- Bucket-creating content (e.g. travel)
- Trends
- User-generated content from the community
- introduce products
- Exclusive information
- Tips and Tricks
- before and after content
- Introduce yourself
- Behind the Scenes
- sneak peeks
The three types of storytelling
micro storytelling
Stories can be told in small content formats. Whether reels or shorts: the possibilities are endless. Above all, fast emotions such as fun and joy or sadness can be transported. The content must not be overloaded, but should be "snackable". It is worth relying on current trends here, analyzing them and reacting to them in an agile manner. A flat hierarchy and fast coordination paths should be set up for this type of storytelling in production and in acceptance processes.
macro storytelling
Story features provide a change of perspective. Authentic information can be shared from behind the scenes. It pays to have the courage to be spontaneous and genuine. One of the biggest opportunities is the possibility of content mix. From video to graphics, all options are open and are increasingly being demanded by the target groups.
Most story features are only seen by existing followers. This means a certain exclusivity for your own network. That's why it's all the more important to think in terms of your own community. People, partners or even the target group itself should be integrated into the content. Whether in the form of surveys or as a takeover.
Longtail storytelling
YouTube is probably the classic way to tell long stories. From your own series formats to reports, the possibilities are endless and should also be used. It is important for the analysis to note that long-tail formats also take significantly longer to pay off. Sometimes it takes staying power.
To be considered in content creation
To create successful content, we need to take a step back before looking at the storytelling. The first thing to do is to ask yourself the following question: Why should my target group consume this content? What added value results from the content and my message? Only then can a concept for a story be cast that is adapted to the needs of the target group.
When planning modern content, planning should be format-independent. What is my main channel and why? If I want to tell a long story, then YouTube is a good choice. But which parts of the story can I play on other channels and how?
Good content must identify with me, the brand and my mission. In order to ensure this in the long term, the curiosity of the recipients should be aroused. A design that the target group finds subjectively appealing can support this. This step is often easier said than done. Designs should be conceived and developed using the Design Thinking approach and iteratively adjusted once validated feedback has been gathered providing rationale. It is also worthwhile to use well-known patterns and experiences of my target group. What does the target group like apart from my brand? What sense of humor do they cultivate and what zeitgeist does it have? What other people on mission besides me does it burn for? For this information you need a good community management.
5 examples of good storytelling in social media
Move: Social media campaign
Apple: 1984 Super Bowl Commercial
"Like a Bosch" from the Bosch company in 2020
I am sophiescholl:
Instagram campaign by SWR and BR
Lego – Star Wars: Social Media Campaign
The Red Thread -
How visual storytelling can be used to easily render content.
A picture says more than a thousand words - a saying that is more relevant than ever. In the digital age, information is available with just a click, and in abundance. This is where visual storytelling comes into play.
“We now live in a world where information is potentially unlimited. Information is cheap, but meaning is expensive. Where is the meaning? Only human beings can tell you where it is. We're extracting meaning from our minds and our own lives.”
– George Dyson in “The European”, 2011
Visual storytelling is a story told through visual means. These means can be drawn or photographed images, illustrations or videos that are enriched with the help of music or language. First and foremost, it is about conveying messages in which the visual medium is a stylistic device for evoking emotions. Graphics and animations thus combine two important functions: information is bundled in a targeted manner in one place and packaged in a narrative that goes beyond the sober facts and triggers emotions in the recipients. But why exactly is this important?
Image beats text
The effectiveness of visualized information was brainrules.net (2018) analyzed more precisely: If content is presented purely in text or audio form, the recipient can only remember 72% of it after 10 hours. However, if they are visualized, the value increases to 65%. This immense increase of over 50% is not a particularly surprising result when you look at the structure of the human brain. The visual cortex - a large part of the visual system responsible for visual perception - occupies 50% of the brain. Visual perception includes not only pure seeing, but also the analysis and interpretation of visual stimuli by comparing them with already stored experiences such as physical sensations, emotions, smells, sounds and much more. It is precisely this process that explains why visual storytelling manages to arouse emotions. Presented in a narrative, the content is more compelling and impressive, capturing a certain atmosphere and bringing it to life - and graphics and animations do this in a matter of seconds.
In summary, this means that complex content that is bundled and conveyed efficiently leaves a stronger impression and is more likely to be remembered due to the emotions it arouses. In addition, emotional stimuli are more likely to encourage the recipient to act than factual, dry content.
7 tips for visual storytelling
So if you want to present information using visual storytelling, the following things have to be considered:
- Less is more. Information and content should first be filtered and then bundled so as not to overwhelm and overwhelm the recipient.
- Show what you have instead of saying it. A picture says more than a thousand words and with just a simple representation, content that would need paragraphs to explain can be summarized.
- The first impression counts. The idea must be recognizable at a glance. A precise and concise way of presentation prevents misunderstandings, does not allow boredom to arise and does not feel like a waste of time for the recipient.
- If you want that extra wow, get animated. Movements in the picture are a real eye-catcher. Even a simple GIF, a targeted movement is enough to draw attention, direct and support the narrative.
- The narratives should never be forgotten, not even with graphics. Every story has a beginning, a middle and an end - and always a conflict. The highlight of visual storytelling is to present the entire narrative in just one image.
- Keywords: the human and the authentic. Humans are social animals – emotions, trust and commitment are aroused by the fact that the recipient can identify with the depiction and feel empathy.
- Tell something new, but don't lose sight of the message. With all the things that you have to consider, the message that is actually supposed to be conveyed can easily be forgotten. But it is the reason why the graphic is created.
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The feature as an emotional conveyer of facts
A particular challenge with (longer) texts is both telling a story that touches the reader emotionally and conveying facts about one’s own project, company – in short, about the things that customers sell. In order for this to succeed, we like to reach into the journalistic bag of tricks and use the “feature” form of presentation.
A feature combines individual case stories with generally valid facts in an appealing way, because the text blocks alternate and an easy-to-read and well-remembered fabric of personal history and customer messages is created.
Making complex topics tangible using a protagonist
Let's take the topic of science communication as an example: Some readers find it difficult to follow the material, especially when it comes to complex topics such as MINT - mathematics, computer science, natural sciences, technology. However, if the writer places the scientific content in an individual context, an emotional connection to the story described and the facts is created. In essence, it is about making complex issues tangible and understandable for a broad public with the help of a protagonist.
So when an author writes about how a 15-year-old student experiments with glowing liquids in a laboratory, it is easier for the readership to subsequently learn about the importance of fluorescence in genetic research. Or something about the relevance of MINT girls offers in the extracurricular education sector.
tell history
Main character(s) are accompanied and a story is told based on their example.
The figure(s) represent a larger group of people who face similar challenges.
convey facts
In order to convey facts, the experiences of the main characters are placed in a larger context.
Facts are interwoven with the story being told.
4 tips for writing good stories
The feature is just a form of storytelling. Interviews, reports or portraits can also place customers and their products and ideas. No matter what form the text ends up in, there are a few general tips on how to succeed in telling good stories in text.
- Research: Whoever writes a story must base it on solid factual research. This avoids pitfalls and discrepancies.
- Dramaturgy: With a well-considered dramaturgy, a story can not only be written better, it is also better remembered by the reader. The seven plots of the hero: interior journey.
- Stylistics: Stylistic elements such as metaphors, comparisons, scenic descriptions, inner dialogues, adjectives, etc. can be used in a targeted manner to create emotions. The type of text (feature, interview, portrait, reportage) also determines which style elements are used.
- Credibility: Both the protagonists and opponents must be realistically portrayed in the stories. "Superhuman" abilities or individual fates that are not very transferrable lead to a lack of credibility, which can ultimately have a negative effect on the project/product presented.
The Red Thread -
Everyone tells stories, memories or jokes in their own way, be it through pauses in suspense, intonation, a certain speed or the use of certain words. These are small, subtle tricks that make a story appear emotional, exciting or believable.
In the course of life, everyone looks at one or the other trick from others and appropriates their own toolbox. Stories are told using moving images and people are accompanied on their mission. Individual tools help the video designer to tell the story. Some essential tools are those of editing and transitions between scenes.
Before the cut:
The 5-shot rule helps in the production of videos. It gives us orientation, how we can tell a situation and sometimes even the whole story with five shots. You start with a detailed recording or a so-called establisher to introduce the place and/or to arouse curiosity. Next, the protagonist is introduced. Here we switch to a close-up, the so-called close-up. In a medium close-up or American shot, we then move on to an explanation of the situation or action.
If necessary, you can switch to a long shot or add a detailed explanation by shooting over the protagonist's shoulder. To initiate the arc of suspense, an unusual alternative often follows. For example, another close-up or a shot from an unusual angle. The interview then follows in classic TV formats. In modern media, the content snippet often ends at this point.
closeup of hands
What is being done? A slightly mysterious shot by getting close to the action to involve the viewers.
Close-up of the face
Who does it? Frame the face and give "talking space" in front of the eyes/nose. It's OK to cut off the head, but not the chin.
Wide
Where is it made? Determine the context, setting, mood, and location of the person and environment.
over the shoulder
how is it done? Combine the three previous ideas into one shot. Go straight over your shoulder to get an angle.
Unusual/ alternative recording
What else should the viewer know? Be creative, stand on a chair, lie on your stomach, vary what is in the foreground or background. What will be particularly important for your location or your story?
Interview
Additional shot: interview the victim to get good audio for the voiceover and interrupt with b-roll.
The point of view
You can do a lot with very little! If a person is to be staged in a story, e.g. a protagonist, then the angle from which I show him/her is crucial. The neutral plane is an eye-level shot. If the person is filmed from below, then I make him/her bigger (worm's eye view). The person appears more powerful and stronger. This recording is often used for the villain. The viewer has the feeling of being small. A shot from above, i.e. from a bird's eye view, makes a person appear small and often weaker, maybe even cute.
The most used cuts and transitions are:
standard cut
The standard cut is a hard transition between two scenes. It is used to switch between two scenes (image sequences). It has no meaning or narrative meaning. It signifies the end of one action and the beginning of a new one, whether in the scene itself or from one to another.
This cut is used as standard in news, advertising or company portraits, in which basic content is conveyed in a very structured way - without any frills.
J cut / L cut
At the J cut the audio of clip B is placed below the end of clip A to introduce the new scene before it is seen. The J-Cut is very often used to establish a new scene over the soundtrack. This cut can be used to prepare the viewer for a certain situation or to create a certain feeling. In contrast to the Standard Cut, which often seems abrupt, the transition between two scenes is smoother.
The L cut is the opposite of the J-Cut. In contrast to the J-Cut, the audio track goes beyond the cut. No new scene is established here, but the old scene hangs on a bit due to the ongoing soundtrack. This gives the cut a nostalgic and melancholic meaning.
jump cut
In a jump cut z. For example, if a longer sequence is divided into several parts, individual parts are deleted and the rest reassembled. The plot remains intact, while the clip is significantly shorter. This cut allows plots, but also larger periods of time, to be played back compactly with a clear goal.
Match cut
The match cut brings together two different scenes that are similar in movement or space. The match cut allows actions that are sometimes far apart in space or time to be continued seamlessly. The match cut is fast and useful to connect different places or movements.
Cut on action
With this cut, an action is cut and this is continued fluently. “Cut in motion” describes this cut very well. Here, a character's action is cut, but the action continues. E.g. when someone turns their head, kicks, jumps, runs. This cut is used to make perspective changes appear fluid and almost seamless to the viewer.
The Red Thread -
Good stories also inspire us every day to tell even better stories ourselves. Our team has selected a few special personal storytelling highlights for you.
1. Example: "Farmer" | Ram trucks
Title:
So god made a farmer—Dodge
What was the storytelling? How was it set up?
Pictures of farmers in America are shown, and a speech from earlier times is played as a tribute to the profession. What was said positively and negatively is taken up in the pictures. The whole thing looks very artistic. The actual slogan is a bit weak, but the images and the sound track harmonize very well.
Why did I particularly like it? What do I take with me into my everyday work?
“This was a Superbowl commercial that really stood out from the rest of the commercials. The mixture of media formats (images and the old radio speech) fits very well and arouses emotions – even if it is certainly a little more difficult to understand the pathos in Germany, the advertising also works for me. I still don't drive a pickup."
– Jens Peters
Example 2: Creatures Podcast | Precarious bestiary
Title:
Creatures Podcast | Precarious bestiary
– Citizen Conservation
What was the storytelling? How was it set up?
Funny stories about crazy animals told by prominent voices. By the way, it is about biodiversity and species protection and the Citizen Conservation project can regularly be accommodated seemingly casually.
Why did I particularly like it? What do I take with me into my everyday work?
"It's a great way to prepare for the next fun fact warm-up. 🙂 The stories are mostly beautifully told, the inclusion of celebrities increases the range and the cross-media conversion from text to audio and also in social media works very well from my point of view."
– Catherine Glowalla
3. Example: "A License to Drive2" | BOND
Title:
"A License to Drive2" | BOND
What was the storytelling? How was it set up?
The playful way of preparing dry facts and packing them into a narrative framework.
Why did I particularly like it? What do I take with me into my everyday work?
"It doesn't always have to be the picture gallery with text to convey content."
– Gordon Drabnitzke-Grüten
4th example: "The journey that changed everything" | Berta Benz
Title:
Bertha Benz – The journey that changed everything (Mercedes-Benz International Women's Day 2019 campaign)
What was the storytelling? How was it set up?
A high-quality short film about the first long-distance journey in an automobile / appealing presentation of historical facts.
Why did I particularly like it? What do I take with me into my everyday work?
"I really liked the confident portrayal of Bertha Benz in the film."
– Catherine Glowalla
5th example: "The Cringe Your Christmas market Lidl is worthwhile"
Title:
Emotional Spots – The Cringe Your Lidl Christmas market is worth it
What was the storytelling? How was it set up?
A story writer for emotional spots writes such sad stories that he forgets to laugh and everything just to cover up expensive prizes. That's why he wants to break out of this cycle.
Why did I particularly like it? What do I take with me into my everyday work?
"Is designed like a trailer for a blockbuster to present a larger and longer story in a compact way."
– Gordon Drabnitzke-Grüten
6th example: "finally home" | IKEA
Title:
"finally home" | IKEA
What was the storytelling? How was it set up?
Various stressful, annoying everyday situations are strung together into an overall horrible day. Arriving home (and dropping the IKEA couch) is the emotional relief.
7. Example: "Therapy" | IKEA
Title:
"Therapy" | IKEA
What was the storytelling? How was it set up?
The clutter at home becomes a topic of controversy. Man and woman become so pure that they destroy, give away, burn each other's belongings... until therapy is due. The therapist recommends the IKEA catalogue.
Why did I particularly like it? What do I take with me into my everyday work?
"In general, I find IKEA always has a simple, emotional storytelling that you can easily identify with - there are certainly more examples that I can't think of right now."
– Christopher Rado
8. Example: "Project Sunroof" | Google
Title:
"Project Sunroof" | Google
What was the storytelling? How was it set up?
In just 90 seconds, the spot manages to break down a complex problem (solar energy in your home) and offer a simple solution (Google Maps all the way).
Why did I particularly like it? What do I take with me into my everyday work?
"The story is explained simply enough that you can understand it immediately. The animation is nicely done and eye-catching"
– Stephanie Weber
