WooHoo!!! Star Wars! 
Same storyform, totally different feel. From âTrust the force, Luke!â to âYou ARE Birdman!â Riggan abandons himself to the voice in his head, just like Luke Skywalker.
http://dramatica.com/analysis/star-wars
How crazy is that?!
Are we going to get back to this now?
Wow. Interesting and amazing to find out that.
Yeah, that totally sounds right. Riggan goes from test to trust. Believe it.
Weird, right
@jhull thanks for your time and advice, itâs been a great learning experience. Now I want to analyze more films.
The items chosen automatically in the software fit nicely, for example Cost: Impulsive Responses - the ultimate impulsive response would be shooting himself, right?
One item I donât understand is IC Benchmark: Contemplation. Could you please give an example?
Why @chuntley said it was a broken storyform?
What clues explained why Riggan doesnât really fly away at the end?
Thatâs hilarious. Birdman is kind of a dickhead Obi-Wan.
I know, mashup waiting to happen, right? Itâs a YouTube sensation waiting to happen. âWeâll gross billions, baby!â
Another one for the Storyform comparisons.
I was dreading this for some reason as soon as I saw the Skill/Fantasy discussion. It is kind of weird to see these very different movies with very different audience reactions having the same storyform (if the analysis is correct, of course). Almost like âwhat if Star Wars was an Oscar 
movieâ. I wonder if someone would ever try to make movies with the same storyform in all kinds of genres to reach every major demographic with the same message/argumentâŠ
Every example of magical realism up to the last scene ALWAYS shows two versions: the magical version and a non-magical version. The ASSUMPTION is that the first is subjective while the second is objective. (The ending brings that into question.)
While both versions of the story proceed side by side, the outcome of the ending is different depending on which you believe to be âtrueâ. Up to the last scene, it really didnât matter because of the storytelling consistency. The only parties privileged with both views is the audience. However, the last scene breaks that internal storytelling rule when Rigganâs daughter appears to SEE the magical version, yet the ârealâ version is in the scene as well as we hear sirens approaching from off screen, something consistent with him having fallen to the ground instead of flying away.
Therefore, by breaking his own established rules, the filmmaker has left the ending up to interpretation, thus leaving it open-ended. The effect of leaving it open-ended is for the audience to do whatever it can to make sense of the ending, which leads to all sorts of creative interpretations of the storyâs events. Thatâs why I consider it âbrokenâ. Itâs not that it doesnât work but that we donât know what the authorâs intent was beyond what he has shown (and implied).
Youâre very welcome! I think this worked out great, maybe weâll get this put up on the main site with a bit of a caveat to account for the magical realism that Chris discussed. Thanks again everyone. Crowd-sourcing storyforms for the win!
