Hellfire Lives! A Stranger Things Storytelling Breakdown

Now that the dust has settled on Hawkins' final episode, let's take a good look on how Stranger Things managed to defy all expectations and become the incredible hit it is today. We'll go all the way, which includes discussing its ending (Do you believe?) and have an in depth look at all the narrative elements that made it a runaway success. Here goes…

That's right Mr. Munson. That's exactly right... (Image credit to Netflix and The Duffer Brothers).

Okay, real quick, right off the bat: spoilers ahead. So, if you haven't finished watching yet, I implore you to stop reading right now. Now with that out of the way, to get things rolling the first question we ask is this; what actually is Stranger Things? And there's two ways to explain it...

Stranger Things is Two Things at Once

Stranger Things is a show about a bunch of nerdy kids and youngsters living in the quiet town of Hawkins, Indiana in the ‘80’s, who discover an alternate dimension filled with monstrosities hell-bend on death and destruction, as they choose to fight them and save the world. The series is a cross between Steven Spielberg’s filming style, Stephen King’s horror books and the show Twin Peaks, with overtones of Bladerunner in its music and many culture references and stars from the 80’s era.

That’s my take on the official blurb… Yet as a storyteller, I feel compelled to give you a completely different description: in essence, Stranger Things is a Dungeons & Dragons campaign about mysterious lab experiments gone wrong. This is significant because unlike traditional writing, the way that a story in a D&D campaign is made, is always through interaction between its players and its master narrator(s). It’s the first major thing that sets it apart from other narratives. For those who don’t know, here’s how it works.

Stranger Things as a Storytelling Device

In a D&D roleplaying campaign, typically played over a timeframe of several weeks or months, every player takes on a persona in the story, while a master narrator – the so-called dungeon master – creates situations these personas are put in. Since each persona is a character in its own right, with quirks, idiosyncrasies, backstories and wants and needs, they each react to the situation the dungeon master throws at them, from the point of view of that persona. In other words, their actions are always based on their character.

So far, so basic storytelling: create a character, put that character in a situation, and see the character react to this situation, based on their motivations. That’s how all stories are essentially build up, creating an arc of change as the character progresses through action. However, unlike one person sitting down and writing that stuff out, a D&D campaign is played interactively with multiple people, who each have intimate knowledge of their persona.

There is also an element of luck involved, where based on dice rolls, the success-rate of a persona’s chosen action is determined. That means even more interaction that cannot be foreseen beforehand. The story becomes a ‘live’ story as such. The dungeon master has to adapt to the outcomes based on player’s choices and their action success rates.

It also means that the story progresses far from a linear fashion. The end result is something compelling, as every persona always reacts differently, creating tension not just in the context of the situation, but also between the personas. And thus, between players and the master narrator. This typically enhances and enlarges conflict and friction – the foundations of all good storytelling – giving D&D campaign-based stories extra oomph.

D&D campaigns can have rich character building, because each player typically will focus on their one chosen persona, spending time and energy to give this persona richness. The effect on Stranger Things is that the main characters feel as complex, real people and not a clichéd, one-dimensional cleric leaning on the side of lawful good (which can also happen in D&D…).

The shows creator’s – The Duffer Brothers – have at least in part based their character development on this interactive D&D campaign method, which explains why all the main characters are deeply fleshed-out: they’ve been created over a longer series of time, through interaction with multiple people serving as the ‘writers’. Arguably, this has led to deep character progression especially in the kids, which we’ll get back to.

First, back to the story itself. Because just after we are introduced to the characters, one of them gets killed by an unknown monster, as another one gets kidnapped and dragged into an alternate dimension. That’s where we as the viewers jump in to follow their journey. 

The Upside Down is Real… And Discovered in RealTime

The next big storytelling tension comes from the realization that this alternate dimension is in fact, real (at least within the story world). We as the viewers known slightly more than the protagonists. Yet ever so slightly. Because we see many of the moves that the characters make, and get some flashbacks occasionally, we often have bits of information ahead in time. This is ‘worldview’; the storytelling device that lets you see more than the characters.

Yet at the same time the story is also told through ‘characterview’, meaning we see the story world through the eyes of the characters and discover the alternate dimension in the same story beats that our main characters discover it. We get to feel their amazement, fear or hope at the same time as they do, connecting us emotionally. We get to understand their feelings in the moment. In real time.  

And as we follow their journeys, we discover that this other dimension, which they call The Upside Down, truly exists. In their search for their missing friends, they struggle to accept this of course, since it’s all so otherworldly. This means that other people see them as crazy, as if they’ve lost their minds, creating an extra layer of tension: some accept the existence of the alternate dimension more quickly than others.

We as the viewers, however, almost immediately find ourselves on the side of the kids – and a handful of adults who also see the truth – because we know they are being truthful, however crazy it may seem. And we get to feel and understand their anguish, as they try to explain The Upside Down to others. We also realize that the mind of a kid is more flexible than the average adult mind, which connects us even more to these rascals.

The Kids Too, Are Very Real

And rascals, they are. The kids too, behave very real. They lie to their parents. They sneak out. They do stupid things. They curse, they bully, they banter. They behave like real kids.

Gradually over time, Hollywood has gone from truthful depictions of kids in ‘80’s movies such as The Goonies to sanitizing kids’ behavior in the current era of film. Everyone who has ever been a kid (which means literally everyone…), knows deep down that this sanitized version of childhood is simply not true. That means in storytelling terms, we have a harder time relating to them. Thankfully, Stranger Things gives us the reality.

I cannot overstate this: the show making a truthful depiction of youthfulness in a throwback to ‘80’s film full of banter and bluster, is extremely refreshing. And in my point of view pivotal to the show’s success.

The Worldbuilding is Atmospheric and Believable

What goes for the characters, also goes for the world-building. In its audio-visual design, we are thrown back into an 80’s era with elaborate bathing suits, huge hairspray hairstyles, neon lights and videogame arcades. Plus, of course, ‘80’s music. This world-building is consistent throughout the show, adding to its atmosphere, especially because the ‘80’s really was that high energy decade full of renewal and big emotions.

The overall believability – or ‘suspension of disbelief’ as we call it in storytelling circles – is further helped by the fact that the CIA really did do (very, very illegal) mind control experiments, including on children. It was called Project MKUltra and took place in over 80 labs in the 1950’s, such as the one in Hawkins. Furthermore, the Soviet tension backstory used in some of the Stranger Things seasons, is also a believable angle, especially since Iron Curtain tensions really did flare up before ultimately dissolving at the end of the ‘80’s with the Fall of the Berlin Wall.

And although it is arguably one of its weaker aspects, this also means that the actions of the military in the show are at least somewhat convincing: they are looking for new ‘weapons’. So, if the psychic powers of children can help them, they will exploit them.

Where the Worldbuilding Misses the Spot

This does however lead to my first criticism of the show: weakly written military leaders. If the military’s primary goal is to protect America, than the events clearly showing the greatest threats coming from The Upside Down, would logically lead to very different military-character reactions, aimed at protecting these kids, who essentially save their asses. Multiple times.

I mean freaking monsters are tearing your soldiers apart and giant hell-chasms have appeared around your lab… yet you point guns at kids, some as young as 11 years old?

The worst written characters in the show (no criticism to the actors playing them of course) are thus Lt. Col. Jack Sullivan and Dr. Kay in the fourth and fifth seasons respectively. Of course, one can forgive the showrunners and writers for using the ‘evil military’ cliché as a storytelling device. But it still is an obvious flaw. It also means that the military-scientist-character Sam Owens, who does understand what’s at stake, and is carried excellently for three seasons by actor Paul Reiser, is sorely missed in the ultimate finale.

Friction Building on a Societal Level

While on the ‘world friction’ level this means the series has its flaws, it almost never misses a beat on both the ‘society friction’ level and the ‘personal friction’ level. For instance, D&D is not only used as a storytelling device to create the show, but also deeply interwoven within the actual story events in Hawkins, since a group of main characters plays it frequently, and even uses its terms to better understand the alternate dimension.

In seasons 4 and 5 this even leads to tension between the Hellfire club (those who play D&D) and people who see this game as ‘demonic’. This too is a real-life reference, since people in the late ‘70’s and early ‘80’s really did look at D&D as being something evil. For the purpose of the show’s story, this fact is used excellently in creating deeper tension. On the one hand you’re cheering for the Hellfire club. On the other, you totally understand those people who blame Hellfire, since they have no clue of The Upside Down.

Friction Building on a Personal Level

D&D’s influence keeps stretching throughout the show, since the fleshing-out of the characters includes playing around with gender stereotypes, sexual preferences and in the case of Stranger Things, plenty of teenage hormones.

This gave rise to very emotional situations with gay character Will coming out for instance. But also a pretty hilarious coming out from lesbian character Rockin’ Robyn, fueled by truth-saying drugs, a thigh-slapping run through a Soviet installation, while ultimately ending in a typical teenage throwing-up on the toilet of the local mall. We’ve all been there, at that toilet, haven’t we? As coming outs go, this one rates pretty high in my book.

And that extra teenage angst also led to my favorite sarcastic remark in a show five seasons full of sarcastic remarks, when Robyn remarks to Nancy Wheeler, seeing Steve and Jonathan childishly compete in climbing a radio tower to impress her: “What is it about you that makes those two turn into neanderthals?”

She’s right. So, let’s talk about Nancy.

On Character Progression and Ultimate Arcs

By now you’ve probably guessed I’m a fan of the show, and that I could do deep dives into all its main characters. Instead, for time’s sake (yours and mine), I’ll refrain from that and focus on a few of the most important progressions only. And the first character I wish to single out is Nancy Wheeler.

In my first viewing of the show, I actually did not notice her arc enough, since I was focused more on her little brother Mike and his friends, as they seemed to carry the show as the primary friends of Will and Eleven, who are so central to everything. On my second viewing however, my focus shifted as I realized that the show-carriers include a much broader range of characters than our D&D club alone.

That’s why Nancy’s arc is especially noteworthy, since she makes her ultimate progression very early on. She loses her best friend right off the bat. And although her first time in The Upside Down she is still frightened, in all her subsequent altercations with its demons, she’s a total, unequivocal badass. Sure, she has love-interests and a journalist angle that give her character more depth later on. Yet in many ways she reaches her ‘ultimate form’ before anyone else does.

In the finale, we see her gallivanting around with a multitude of guns over her shoulder and aren’t in the least surprised, since she’s basically been doing that for five seasons already. Personally, I thought it was awesome, as it felt she was still avenging her best friend Barbara’s death all the way through it all. Yet most of the other characters take a longer arc, and several smaller arcs in between, before they reach their ‘final form’, to stay in role-playing game terms. As promised, I won’t discuss them all, but just some quick examples.

Hopper for instance goes through a multitude of pretty bad mistakes, although driven by a good heart, before he can let go of both his past and accept Eleven her choices in the end. Harrington and Henderson go through various stages of love and loss, before becoming their unexpected ‘final form’ duo in the series finale. Max her entire ride is a total rollercoaster throughout, with her arcs going wildly up and down. Mike completes himself last and only as he has to let go of Eleven. Will his coming out is very late in the game. Joyce ‘completes’ as she accepts Will has become a powerful wizard, her arc ending with that axe chopping scene. Jonathan reaches final form when he lets Nancy off the hook. And even steady-minded Lucas his arc is long, landing in season five when he’s prepared to sacrifice himself for the smaller kids.

Yet perhaps the longest arcs of them all are Eleven her escape, connection and ultimately sacrifice as they link to Henry’s transformation to all-powerful Vecna.

The Bad Guy…

Most stories are as strong as their bad guy. Think of your favorite Bond films and they’ll likely be scored by how relatable the evil people are. Vecna is no different; his backstory is long, strong and to a degree quite understandable, making him an interesting, even at times fascinating adversary. And what makes it extra compelling, is the show’s timing.

Probably one of the main secrets to Stranger Things becoming the number one rated show on IMDB in popularity, is the slow reveal of the bad dudes. At first, we have one single demogorgon only. We start to – again slowly – find out why Dr. Brenner is a bad guy, and master manipulator, from his lab. For a while, we even see him as the main antagonist.

Then we are introduced to several demogorgons. Then there’s a kind of dust-formed monster appearing on the scene, the Mindflayer serving as the main antagonist. Which in the end turns out to be just a shadow-form of the true Mindflayer.

It takes quite some time into the series before we’re finally introduced to Vecna as the real antagonist. We slowly find out he’s behind all of the pain, but his backstory still has many layers that have to be peeled away. Very late in the game we get a pre-final reveal: the Mindflayer is real, alive and has merged with Vecna. And brilliantly, all the way in the end, Will gives Henry/Vecna a final moment of choice… were you not also a victim as a kid?

The Duffer Brothers had even played around with that twist, turning Vecna to the side of the light in one writing iteration. They ultimately – and thankfully – decided against that. The outcome of that narrative decision does wonders for the storytelling in the finale: just before he gets killed, the good guys still give him the choice to stop all of it. Vecna reveals it was always his own choice not to resist the Mindflayer. And with that action, his fate is sealed.

… and The Bad Boys & Girls

Such multi-layered complexity is also found in the various selections of our ‘bad’ boys and girls. Eleven for instance, isn’t exactly a good person throughout. Her kill count, including many a human being, is off the charts. And brutal too. Frequently we see her use her powers in misguided rage. Forgiveness is also not exactly her forté, as she answers the final calls of understanding by her ‘pappa’ Dr. Brenner in his dying breath, with silence and a look away.

We do understand her. Pappa reverted to his old ways of control. As we understand Kali too, leading the life of a vengeful, slightly cold-hearted run-away. The show isn’t unique in creating ambiguous characters of course, but it still elevates them to a high degree of relatability. Again, think of Nancy. It’s an absolute genius name-choice. A ‘Nancy’ is typically a name for the ‘nice girl’ from a small town, who plays by the rules and delivers a family of nuggets. Here, we have a Rambo-like ‘Nancy’ wielding a freaking shotgun. Granted, she’s no bad guy. But she’s no Nancy either.

Then there’s Eddy, who is in the role of the ultimate misunderstood character. He is a super gentile young man, willing to sacrifice his life even, yet an entire town hates him, because they didn’t want to understand him and his harmless Hellfire Club. And of course there’s Billy, who really is a bad person. Yet, he’s a victim too, redeeming himself in the end, in what is probably one of the show’s greatest moments.

‘No Internet’ and Music As a Narrative Device

Before we wrap it up with my thoughts on the finale, there are two noteworthy storytelling devices that I still ache to discuss with you. The first is ‘no internet’. Yes, there is a charming scene where the internet is used by Dustin’s girlfriend Suzie, but that’s not what I’m talking about. The ‘80’s was the last decade where almost no one was online yet, with people still living in the moment, within their direct surroundings, instead of hooked to digital spaces that take your mind away from the real world around you.

In other words, if you want to take just one storytelling lesson from Stranger Things, let it be this: cut your characters from the internet. This will allow them to react in the moment and make an emotional connection with the audience.  

And there is still another beautiful lesson to learn, and it is perhaps Stranger Things its most original one: music is used as a storytelling device. Of course, I’m talking about ‘Running Up That Hill (A Deal With God)’ from Kate Bush. That song becomes the lifeline of Max, as in literally her lifeline to escaping certain death. As a result, it is integrated into the soundtrack, into the reactions of characters, into Max her arc as she bravely confronts Vecna and back into our own hearts as listeners and viewers.

It also in my view, painfully shows how generic current era film music has become. Which brings us to the finale…

The Finale

What I personally missed most in the final season, is a throwback to that song. And that comeback of Dr. Owens would have been nice. Other than that, however, I thought it was an incredible finale. And to answer the most burning fan question; I don’t so much believe… I know Eleven is alive. Not by faith. But by observation.

The first clue is the use of the song Heroes as (again) a story device. The song is used twice before in the series, the first time with Eleven and the second time with Hopper, at moments when it appears they die, yet later return bruised but very much alive. Here we get the same treatment the third time around as Mike explains his theory to his friends. And while we hear Heroes play, we get more clues as to Eleven being alive. Mike and Will's D&D books line-up when they put them back into ‘spell 11’ for instance.

In the finale, all the major characters in their final form, are ultimately heroes. They all contribute to Vecna’s demise and to saving the world, each in their own way. This is not dissimilar from earlier finales, since Eleven doesn’t defeat evil on her own. Far from it. In fact, without the moves of the others closing gates or attacking and distracting evil monsters and military bad guys, Eleven is not capable of bringing her powers to the front. In the finales of seasons 2,3 and 4, she’s not even the one bringing the ultimate hero move.

In the end, all these characters stay true to their arcs. That includes Eleven, who we’ve seen making sacrificial decisions before to protect those she loves. Eleven making a sacrifice is in line with her persona from the very first season. But here’s the genius: she has choice on what her sacrifice will be exactly. Whether you believe she died or is alive, any sacrifice would be true to her character. Since even alive she can never contact Mike again, as that would not only risk their lives, but the fate of the entire world.

Pulling off the ‘ambiguous ending’ as it is called in storytelling, is no easy feat. Famously, Game of Thrones – the previous big number one in streaming-land – had an oft-discussed and not always loved ambiguous ending. A lot of fans wish for a ‘happy ever after’ when they’ve spent so much time with their favorite characters in a show. They even go through stages of grief when its over, using social posts to alleviate their pain. However, in the case of Game of Thrones, a happy ending would have been deeply out of character.

That entire series is based on the gloomy prospect of any major character dying at any random moment. It’s what makes the books and show such fun. It's its nature. Which brings us back to Stranger Things and its characters. Because the nature of Stranger Things is different than Game of Thrones, as hope and miraculous recoveries have been part of its story-language from the get-go.

Believe…

Personally, I would have been okay with Eleven not making it. It would have been in character. Yet, staying alive by some superb wizardry trick, healing her sister Kali up a bit to pull it off, is also what fits her character. The worst ending really, would have been the ‘happily ever after’ for her and Mike. Sure, the show is nowhere near as bleak as Game of Thrones, but still, that would not have fitted.

As such, I wasn’t surprised when the showrunners gave us an extra 40 minutes or so to build up to an ending in which Eleven was still alive, but on the run forever, as a gesture of love and thanks to her friends. It was basically an entire episode dedicated to the ‘alive’ theory, which at the very least makes one suspicious of the ‘death’ theory, since few showrunners would have dedicated so much time and effort if they didn't want you to 'believe'.

Ultimately, they didn’t land the ambiguous landing perfectly, as in giving us a true 50-50 choice on what to believe. And as I just pointed out, I strongly suspect that was intentional. When you re-watch the finale, Eleven ending up in The Upside Down and dying, seems physically damn near impossible. She’s in the truck, she’s the number one target of the military, she steps out of the truck at gunpoint (they got her!)… yet she mysteriously manages to sprint a 100 meters or so unnoticed, while the ‘kryptonite’ is blasting? Just as a story observation, it doesn’t add up. Ergo, she’s alive.

The Ultimate Conclusion.. 

But arguing about the ending is not why I wrote this lengthy piece. I’ll leave that to others. I wrote it to inspire us storytellers out there, having a clear breakdown of the unique elements of the show, including the many shades of grey and layers of ambiguity. Ultimately my conclusion is this: taking big narrative risks pays off.

Also, I wrote this piece for myself, being very inspired by the show, as I am writing my own – hopefully epic as well – science fiction story, as we speak.    

So, in the end? Sure... okay... I believe.

But far, far more importantly…

Hellfire lives!  

Luv, as always, Rogier

And check out my book The Whole Story - The Ultimate Guide to Storytelling!