You might make experiences that are about spending some time in a loved imaginary world with loved characters (The Star Wars Holiday Special or Star Wars: Galactic Starcruiser [1]) but inevitably people who aren't superfans are going to feel it doesn't appeal to them. You can make a profitable game (Azur Lane) which is all about fanservice, collecting, and little narratives -- and people are going to say it is degenerate and compare it unfavorably to normal single player games like, say, Hi-Fi Rush or even mobile games which have a clear story like Love Nikki. All the complaints that people have around big media franchises will still stand.
[1] https://screenrant.com/star-wars-galactic-starcruiser-hotel-...
Before we had the same basic recycled narratives, but a film didn’t need to check every single box and some films were more directed at romance or certain audiences and only checked a few of these boxes.
Modern tent poles need to check every single box and it just feels so formulaic and boring.
I'd be interested in seeing someone do a breakdown of the frequency of romantic subplots in films; I have some guesses as to the possible pattern but this seems like a moment for hard data.
My parents don't enjoy seeing films in theaters. So when they took us out as children, it was under exceptional circumstances. We went to see E.T. when it premiered. I remarked about Drew Barrymore's young character shouting "penis-breath" and my mother explained that if they didn't throw in a few profanities, the film would have been rated "G" and dismissed as a children's film. A "PG"-rated film was likely to gain more screenings in more theaters and capture a broader audience.
One can watch other films. For example: https://www.bfi.org.uk/lists/chantal-akerman-10-essential-fi...
> Ironically, the monomyth is now being stretched out of shape by commercial forces, too. Franchises, sequels and box-set formats are extending stories in multiple directions to eke out ever more revenue, bringing to mind Musk’s intergalactic ambitions, which imply there’s a franchise option for human life: late capitalism, it would seem, respects neither narrative nor planetary boundaries. ‘It’s outrageous, really,’ Yorke says of endless sequels. ‘If you think of it in basic terms, a story is a question and answer, dramatised. And when the question is answered, there is nowhere else to go.’ Not surprisingly, Hollywood is working hard to combine narrative boundlessness with satisfying, self-contained stories: the Marvel ‘Multiverse’ is a kind of vast conglomerate of autonomous (super)heroes’ journeys.
The piece seems a bit critical of the monomyth, but it does flag the current, massive alternative as quite stupid as well. Instead of a hero’s journey for a hero, we have a franchise journey, degrading the typical arc to put it in service of the whole.
I think loss of artistic variety as culture becomes homogenized is an underappreciated cost of globalization.
Ozu is my favorite director, and learning about the 4-act structure helped me understand why - I always hated the third act of most movies, when character motivations go out the window in the interest of a big explosive ending. There is a lot of potential in kishōtenketsu structure to tell stories that are more realistic and introspective and don't require the kind of antagonistic conflict of 3-act structure.
From the article:
"One of my favourite films, David Lynch’s Mulholland Drive (2001), conforms pretty closely to formulaic structure, even if it is complicated by dream sequences: the inciting incident of the car crash; Betty’s quest to help Rita rediscover her true identity. I believe that one reason we don’t object, don’t groan with boredom, is that the scaffolding is – crucially – hidden."
I liked the movie, and I approve of this kind of creativity, but a disguised 3-act structure is still a 3-act structure.
And then you have My Neighbor Totoro, where all the monsters are friends, and the bad guy is just chronic illness, children who have let their imaginations run wild and fear the worst, a sibling getting lost, and at the end basically nothing happens which is the best news considering. There is no metaphor for human struggle, it’s just human struggle.
While some of his movies like Castle In the Sky, Mononoke and Nausicaä follow a modified Hollywood bad guy arc (in Castle half the bad guys practically become chosen family, in Spirited Away they become allies), a lot don’t. Up on Poppy Hill is essentially two teenagers in love discovering to their horror that they are first cousins, despair, and then discover that one of them was adopted.
But in all of them is the self-rescuing princess. The child either has to save themselves or at least demand the help that they are rightfully entitled to.
I got to introduce some kids to Ghibli right as Disney started distributing them. If you’ve seen Lasseter’s introduction to Spirited Away that’s where we were at that time - I’m telling you a secret that should not be a secret. And they in turn “forced” their friends to watch them in the same way my generation forced people to watch The Princess Bride; like it was a moral imperative to postpone other plans and rectify this egregious oversight in their education.
Time is another dimension you can use to get to different tropes. Lots of old movies don't go quite how you would expect them to, given modern filmmaking plot beats.
Examples:
Rang de Basanti (India) features political corruption which causes the death of a man in a group of tight-knit friends. In revenge, they hatch a plot to assassinate the defense minister. And then they do it, and the second act of the movie takes place and they all die. What a ride!
Duck Soup (1933) is about as far away from a modern comedy as you can get, and it is entirely about sticking your thumb in the eye of the wealthy and powerful. Surprisingly watchable, for such an old film.
Meaningless, but so are those "7 types of story archs" taxonomies.
We meet the protagonist in their ordinary world, then an inciting incident changes everything, they are pulled into a new quest, meet someone who shows them a different way of being, they struggle with a powerful antagonist, and in the end the protagonist either triumphs or fails tragically.
HN to the rescue! What are some movies that do NOT follow this plot?
The adventure of the individual vehicle is that it prepares for the races, it practices, it tunes, then it competes, and then it either wins or loses. And then, budget permitting, it prepares for the next race.
https://www.youtube.com/@SummoningSalt/videos
These are presented in an entertaining way that's full of twists and drama, but because they're non-fiction they can't be forced into any pre-existing structure.
Enter the Manic Pixie Dream Girl.
Horror movies in general seem to have more freedom to play with plot structure than other genres. Every film, regardless of plot, needs to have something that makes the audience want to watch to the end of the film. With horror, it's often putting the question in the audience's mind "what is happening?" That can be compelling enough to propel the viewer to the end so the film often doesn't need to have a protagonist go through some emotional journey.
It's been a while since I've seen them, but I don't think The Ring or The Grudge follow this plot form. It's probably telling that both of those are adaptations of non-Western films. I don't think Alien follows this structure either: Ridley is basically right all along and just has to survive.
I think Goon is an underrated comedy, and it doesn't really fit the three-act structure well. It certainly has conflict and climax, but Doug doesn't really go through any internal crisis. Instead, he's more often the catalyst for internal change in other characters.
"Skinamarink" and "I Saw the TV Glow"
Primer
Holy Motors
Le Voyage dans la Lune
Irréversible
The trick in this topic is how dissimilar to some vague canon should a story be to qualify for an answer to your question.
Does an anthology approach like Playtime (1967, dir. Jacques Tati) count? It's got kind of an arc to it, but doesn't really have anything like a recognizable struggle with an antagonist. Unless you view brutalism as the antagonist, I guess.
8½ (1963, dir. Federico Fellini) could, likewise, be shoehorned into a discussion of the arc of the film--which it, itself deconstructs in the third scene or so. It's primarily a film about making the film. There's _kind of_ a journey the protagonist goes on, but does it really count as being this same plot?
https://www.jalopnik.com/every-car-looks-like-this-thanks-to...
Everyone hates the cybertruck because its different than the generic white ecobox.
https://www.phonearena.com/news/Why-do-all-smartphones-look-...
What happened to flip phones and physical keyboards?
Can you go into a mall anywhere in the world and go buy a starbucks before you go to H&M? Doesnt even matter if you go to H&M or zara because its all the same clothing.
Getting back to film and tv context. The skill of the author is what lets the change or difference come through. Goerge RR Martin had a different take and did well. How did he do it? Game of thrones is empathy. Empathy lets you escape the narrative prison. Show the trauma of the villian to make them a victim.
The Fairphone still looks like a generic smartphone but they sell it via empathy of ethical, sustainable, and repairable parts.
A long analysis of Stargate SG-1 as starting point: https://tvtropes.org/pmwiki/pmwiki.php/Series/StargateSG1
1: https://tvtropes.org/pmwiki/pmwiki.php/Main/TheHerosJourney 2: https://tvtropes.org/pmwiki/pmwiki.php/Main/Kishotenketsu
But the rules of counterpoint were codified after his death (IIRC there were two people who worked together to do it), and act like an averaging across all baroque composers. Making the rules is kind of like putting it in a glass box, sealing it off and preserving it - IE removing all life from it. A contemporary example is how punk became standardized, just wear leather jacket with safety pins and mohawk and play barre chords. The spirit of punk moved to post-punk and elsewhere but also this bizzaro copy of all the superficial aspects of punk moved elsewhere.
While I love Joseph Campbell and the heros journey, I do feel like sticking too strongly to it does the same thing for narratives. I especially hate insistence that everything needs a three act structure, not because it's inherently bad, but because stories that don't need it are shoehorned into it and given an unneeded third act with more set pieces than genuine character motivation and development. It's like people see a good movie with a three act structure, and think it's due to that specific structure.
Though the never-ending soap-opera of comics aren't really that great a fit for wrapping everything up in a three-act structure. (I'm still confused by why the Marvel films felt the need to kill off 90% of their villains in the same movie they debuted.) But the hero's journey is an attempt to answer to "how can we make a film as popular as Star Wars?" So we just follow that pattern, I guess.
Not that there weren't other patterns--the Disney animators independently arrived at their own storytelling rules, for example. Disney Animation: The Illusion of Life (by Frank Thomas and Ollie Johnston ) has a discussion of what they found worked for them and what didn't. It's worth comparing what they say there with the actual films and reflect on how the rules bore out in practice, of course. But it's another attempt at codifying a formula for appealing stories.
There's lots of attempts to try to describe the universal appealing story pattern. Whether narrative actually works that way has become bifurcated into separate questions: "what kind of stories are effective for humans?" and "what kind of story can we produce reliably as a commercial success?" are subtly different but have become conflated.
"A mechanical engineer created a new kind of baseball bat and made the baseball bat companies more money."
See? No one gives a shit.
"A mechanical engineer created a new kind of baseball bat, it changed baseball forever into a minmax-optimize-at-all-costs bore show that killed a cultural icon of a sport and while the engineer got rich in the process, he couldn't have predicted the cultural effect his invention would have or how we would lose himself in the process."
Ok, now we're onto something.
Stories are anchored to conceptspace attractors and condescending them as simply "Western constructs" belies how humans actually come to care about things.
“I was hungry (call to action), so I went to Filipe’s to get a sandwich (transformation, now bearing sandwich) (Return is implied, I’m no longer at Filipe’s)“
Is that really constrained by the hero’s journey? Or is it just that communication discusses dilemmas and resolutions, and these can be fit into our stereotypical hero’s journey?
What he meant by it is that some unconscious features are collective, meaning they are genetically programmed in all people. Jung believed this also includes certain thought patterns, which can be inferred from stories. For example, he would have argued that a paragon of wisdom is typically an older man with a white beard (Gandalf and Dumbledore come to mind) because we have a genetically programmed inclination to see older men with white beards as paragons of wisdom.
Jung liked to use these kinds of methods to analyze the human psyche and its structures. Interesting guy. If anyone is interested, I recommend his collection of essays, Modern Man in Search of a Soul, as a first read.
In the typical three-act structure, the protagonist must make an internal change to themselves before they are able to resolve the conflict.
In this alternate plot structure, it is the community itself that must change. The protagonist is "right all along" and serves to the be the catalyst for that change. Almost as if society is the protagonist. It looks something like:
1. Inciting incident where problem appears.
2. Protagonist attempts to tackle problem using their "true self".
3. Family/village/community smacks them down and says they can't do that.
4. Protagonist tries to conform and solve the problem the way they are told to but fails.
5. Climax: Running out of options, the protagonist unleashes their true inner self and solves the problem.
6. The community witnesses this and realizes that they should accept the protagonist for who they are.
This is very common in Disney movies (Mulan and Frozen being stellar examples) and in family movies where the protagonist is a young person that "no one understands".
It is sometimes mixed with the typical three-act structure where the protagonist also makes an internal "change", but the change is most often simply accepting who they already were at the beginning of the film before trying to deny that throughout the second act.
It's not easy to get away from the three parts of introduction, development and conclusion, in any work that exhibits sequence. Not even in something abstract like music. (I should say, it's certainly easy to forcibly get away from it, if you don't care about the result being boring.)
There is also comedy. If you manage to make people laugh throughout the work, the plot doesn't have to necessarily follow the formula.
Here is an overview:
Opening Image – A visual that represents the struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins.
Set-up – Expand on the “before” snapshot. Present the main character’s world as it is, and what is missing in their life.
Theme Stated (happens during the Set-up) – What your story is about; the message, the truth. Usually, it is spoken to the main character or in their presence, but they don’t understand the truth…not until they have some personal experience and context to support it.
Catalyst – The moment where life as it is changes. It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc. The “before” world is no more, change is underway.
Debate – But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? It is the last chance for the hero to chicken out.
Break Into Two (Choosing Act Two) – The main character makes a choice and the journey begins. We leave the “Thesis” world and enter the upside-down, opposite world of Act Two.
B Story – This is when there’s a discussion about the Theme – the nugget of truth. Usually, this discussion is between the main character and the love interest. So, the B Story is usually called the “love story”.
The Promise of the Premise – This is the fun part of the story. This is when Craig Thompson’s relationship with Raina blooms, when Indiana Jones tries to beat the Nazis to the Lost Ark, when the detective finds the most clues and dodges the most bullets. This is when the main character explores the new world and the audience is entertained by the premise they have been promised.
Midpoint – Dependent upon the story, this moment is when everything is “great” or everything is “awful”. The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”). But not everything we think we want is what we actually need in the end.
Bad Guys Close In – Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.
All is Lost – The opposite moment from the Midpoint: “awful”/“great”. The moment that the main character realizes they’ve lost everything they gained, or everything they now have has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.
Dark Night of the Soul – The main character hits bottom, and wallows in hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of what has “died” – the dream, the goal, the mentor characters, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again.
Break Into Three (Choosing Act Three) – Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.
Finale – This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story. Act Three is about Synthesis!
Final Image – opposite of Opening Image, proving, visually, that a change has occurred within the character.
THE END!
RankingMember•1h ago