New Delhi: From novels to reels, storytelling and consumption have changed drastically over the past two decades. These changes come with new opportunities, as well as challenges in this information age.
Just about two-and-a-half decades ago, people did not have access to smartphones, smart TVs, or the Internet. There were limited sources to get information from and then share them further.
But these seem things of the past now, with access to information becoming easier and easier with advancement of technology.
Because of these changes, storytellers now do not have to face the hassle of getting their work approved by the printing press for publication). They can use the digital medium to reach a much wider audience.
Creators can also take inspiration and ideas from other stories, or make a fan edit to the story such as “what if (event)” stories. The new environment allows for more connectivity between creators and their audience.
A prime example of this is the 2-part YouTube series consisting of “Searching for a world that doesn’t exist”, and “Destroying a world that doesn’t exist”, this series is disguised as an Minecraft ARG (alternate reality game) being solved by the YouTuber Wifies.
In reality, however, the series functions less as an ARG and more as a showcase of Wifies’ storytelling and core thematic influences. It draws on the idea of an unknowable, cosmic entity possessing forbidden knowledge beyond human comprehension, translating it into the framework of a video game. Within this narrative, the central figures—averythemayo and d3rlord3—struggle to contain this entity, which is sealed within the Minecraft world, as they attempt to prevent it from crossing over into the real one.
There are also many challenges that need to be overcome, such as the algorithm-guided narrowness of the content displayed in feed on almost all sites we use such as YouTube, Instagram and others.
The algorithm largely reinforces existing preferences, showing users more of what they already like while rarely introducing genuinely new or diverse content. Another drawback is the growing demand for short-form stories, leading to a preference for shorter, simplified storytelling.
As a result, the algorithm tends to favour content that is quick and easily digestible, often at the expense of more detailed, richly built narratives.
The final downside is that fame is often random.
An example of this is the anime manga Jujutsu Kaisen, where Gege Akutami, the creator, ended the series abruptly because of lack of traction. Although after some time the popularity was regained, and he restarted it. The story, covering around 200 chapters, is short compared to other stories of the series.
As a result, some critics argue that certain plots feel compressed, with key developments and world-building elements receiving limited space, leaving parts of the story open-ended or unresolved.
At the same time, audience engagement with the series is often perceived to focus more heavily on its fight sequences and power system rather than its thematic depth or emotional undercurrents.
In conclusion, while the modern era has introduced new opportunities for storytelling and creative reach, it has also created challenges in how narratives are structured, interpreted, and appreciated.
In conclusion the modern era has brought about new, great changes to how stories can be made and planned, though it has created new issues and challenges in the interpretation and appreciation of the stories being created.
Neal Nikhil Suman is a student of Genesis Global School. Views are personal.
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