I would like to point out that none of these tables and charts should be considered as actual statistical analysis.
For one, the sample pool is extremely biased towards (A) US-American (B) Live-Action (C) Movies (for obvious reasons), and some genres (such as Drama with 335 storyforms) get more representation than others (such as Sport, which gets 8 storyforms).
So, if you look at these things, please don’t take them to mean stuff like “This Genre is more likely to have a Changed resolve than Steadfast.” You would have to severely restrict that meaning. “Stories with that genre in our ~500 big sample pool dominated by Dramatic US-American Live-Action Movies are more likely to have a Changed resolve than Steadfast.”
I just want to point that out to make sure nobody takes these as prescriptive. There are no Sport movies with OS in Physics and MC in Mind in our sample pool? That doesn’t mean there aren’t any like that, or that it would be a bad idea to do it.
Another thing is… My data shows that all the storyforms from Canada have a Linear Problem-Solving Style. Don’t take that to mean that Canadians don’t write, don’t know how to write, or don’t want to write Holistic stories.
Regarding the network, if we were to ever find 1+ story for every one of the 32k storyforms, then it would just be a big pile of nodes, everyone one of which would be connected with every other one, directly or indirectly. Right now, all I take from this is “Oh, I guess I can see why these stories seem similar” or “No wonder this feels so different”
In general, all these tables and charts should not be taken as anything more significant than “Huh, that’s neat.”