# Contextual Subgenres **URL:** \ **Category:** Dramatica Theory\ **Created:** [June 30, 2018, 12:52pm UTC](https://discuss.dramatica.com/t/contextual-subgenres/1893 "2018-06-30T12:52:27Z")\ **Posts on this page:** 1\ **Showing post:** 31
**Author:** ![jhay](https://yyz2.discourse-cdn.com/flex010/user_avatar/discuss.dramatica.com/jhay/32/1944_2.png) [@jhay](https://discuss.dramatica.com/u/jhay)\ **Post date:** [August 8, 2018, 12:08am UTC](https://discuss.dramatica.com/t/contextual-subgenres/1893/31 "2018-08-08T00:08:16Z")
Presenting the Physics quad! At time of writing this, there are few consequences listed. I found that since I wrote the original post on a whim, I never actually made note of the consequences that Psychology stories have, so I have few “Understanding” consequences, etc. My bad. Once I get through the next two domains, I’ll start updating and they’ll grow, I’m sure. Just one little theory I have before I set you all loose on this: I’ve come to the conclusion that there’s possibly some form of fractal logic within these subgenres. Much like the throughlines feature all four concerns in the form of signposts, these subgenres appear to feature all four ‘subtypes’, depending on the concern. For example, the subgenres in Obtaining are: Competitive, Security, Rebalance and Benefit. If we take _Moneyball_ (a Competitive story), we can see these four types in action: - The team is failing, and the efforts to address that problem. (Rebalance) - Building the team up and cutting the dead weight. (Security) - Going against the wishes of the coach/manager to try and win. (Benefit) - The team break records, but ultimately lose. (Challenge) Obtaining is currently the only concern with a full quad, but this pattern can be seen throughout all of the concerns. _Eddie the Eagle_ has to **fight** to get to the olympics, then **defend** himself from his rivals and critics, before he can **endeavour** to compete. Spider-Man has to **train** himself to use his new suit before he can learn the **truth** about the Vulture and ultimately make a **self-discovery** about what it is to be a hero. In _The Others_, the family have to **investigate** the noises, but are forced to **reflect** on their past before they can truly **appreciate** what’s going on. Until we have the full quads, this is just a theory. But an interesting one, certainly. As always, any notes or suggestions/corrections, please let me know. I’ll add a link to this in the original post. Happy writings! * * * # Physics ##Doing **As a Concern/Goal** > **ENDEAVOUR STORIES** : stories where characters are actively undertaking or pursuing a specific adventure or endeavour. > The **Endeavour** Story frequently deals with the pursuit of specific undertakings, such as a pair of artistic senior citizens attempting to visit and paint the seven wonders of the world, or a group of dogs attempting to stage a performance of _Cats_. Checking items off _The Bucket List_; staging a flop with _The Producers_, and writing the next great novel with the _Wonder Boys_ all explore the difficulties in pursuing or undertaking a specific activity or endeavour. > **EXAMPLES** : _All That Jazz; Almost Famous; Birdman; The Bucket List; Double Indemnity; The Empire Strikes Back (Romance); The Marvelous Mrs. Maisel (Season One); The Producers; Shakespeare in Love; Wonder Boys; Y Tu Mama Tambien._ > **DYNAMIC PAIR** : To be confirmed. – > **ATTACK STORIES** : stories where characters actively fight for or against something. > The **Attack** Story often deals with the battle for or against someone or something, such as a wannabe soldier competing with professionals in a paintball tournament, or a mother fighting to rid the city of corrupt politicians. _Eddie the Eagle_ fighting to prove himself; the Rebels igniting in _Star Wars_ to prevent the Empire from taking over, and _Ghostbusters_ fighting spirits from the other side all explore the experience of fighting against rivals or enemies. > **EXAMPLES** : _Bull Durham; Cobra Kai (Season One); Creed; Eddie the Eagle; Ghostbusters; Logan; Princess Mononoke; Star Wars._ > **DYNAMIC PAIR** : **Defense** stories, stories where characters attempt to protect others or survive themselves. – > **DEFENSE STORIES** : stories where characters attempt to protect or defend themselves. > The **Defense** Story usually deals with characters attempting to protect or defend themselves or others, such as a social worker protecting abandoned children, or a sensitive felon attempting to survive in a violent city. _The Dark Knight_ protecting a corrupt city; attempting to outrun the mob while _Some Like It Hot_, and surviving through unspeakable horrors in _Life is Beautiful (Holocaust Story)_ all explore the challenges faced when attempting to protect oneself or others. > **EXAMPLES** : _American Sniper; City of God; The Dark Knight; Eastern Promises; Grave of the Fireflies; The Imitation Game; Life is Beautiful (Holocaust Story; Logan; Princess Mononoke; Romeo and Juliet; Some Like It Hot; The Jungle Book; The Thomas Crown Affair._ > **DYNAMIC PAIR** : **Attack** stories, stories where characters actively fight for or against something. **As a Consequence** > **PUNISHMENT CONSEQUENCES** : consequences where characters will experience some form of physical punishment for their actions. > The **Punishment** Consequences deal with the physical punishment instilled on characters, such as a disgraced comedian forced to film anti-alcohol PSAs, or a caveman forced to carry rocks across town as part of community service. Overseeing a country tearing itself apart after _The King’s Speech_; going through the legal process due to a _Lolita_ complex, and serving time at a different prison from your beloved in _Heavenly Creatures_ all reflect the experience of being physically punished for one’s failure. > **EXAMPLES** : _Heavenly Creatures; Lolita; The King’s Speech._ > **DYNAMIC PAIR** : To be confirmed. – > **TERMINATION CONSEQUENCES** : consequences where characters will no longer be able to do something. > The **Termination** Consequences deal with the characters’ termination of an activity they enjoy, such as a painter forced to find a new art after paint is outlawed in a small town, or a boxer giving up his livelihood to take care of a family member. Nina dedicating her life to something else if she cannot perform the _Black Swan_; _Florence Foster Jenkins_ giving up singing, and living a normal life outside of the fashion world because _The Devil Wears Prada_ all reflect the experience of being unable to do something. > **EXAMPLES** : _Black Mirror: Nosedive; Black Swan; Florence Foster Jenkins; The Devil Wears Prada; La La Land; Sing!; Whiplash._ > **DYNAMIC PAIR** : **Continuation** Consequences, consequences where characters will have to continue doing things that are inherently problematic or bad. – > **CONTINUATION CONSEQUENCES** : consequences where characters will have to continue doing things that are inherently problematic or bad. > The **Continuation** Consequences deal with the anguish of continuing down an unwanted road, such as a moralistic spy forced to continue performing acts of illegal torture for his bosses, or an unfulfilled wannabe rockstar continuing to perform as part of a boy band. Continuing one’s womanizing habits when things go _Sideways_; a _Rebel Without a Cause_ continuing to be a member of a dysfunctional family, and Michael having to live the same old boring life in _Tootsie_ all reflect the experience of an unwanted continuation. > **EXAMPLES** : _Big Eyes; Harold and Maude; Rebel Without a Cause; Tootsie; Sideways_ > **DYNAMIC PAIR** : **Termination** consequences, consequences where characters will no longer be able to do something. – ##Learning **As a Concern/Goal** > **TRAINING STORIES** : stories where characters are trained or prepared for a new environment or set of circumstances. > The **Training** Story tends to deal with characters being trained to prepare for a new environment or set of circumstances, such as a 2D cel animator learning to use 3D animation equipment, or a socially-awkward man learning to handle people in the workplace. Learning everything about the _Dope_ trade; getting to grips with the _Desk Set_ and learning _How to Train Your Dragon_ all explore the difficulties in learning something new. > **EXAMPLES** : _Desk Set; Doctor Zhivago; Dope; Edge of Tomorrow; How to Train Your Dragon._ > **DYNAMIC PAIR** : **Self-Discovery** Stories, stories where characters discover or are forced to discover something about themselves or life in general. – > **SELF-DISCOVERY STORIES** : stories where characters discover or are forced to discover something about themselves or life in general. > The **Self-Discovery** Story often deals with characters discovering or being forced to discover something previously unknown about themselves or life, such as a self-conscious actor learning to appreciate who he is, or a woman with superpowers learning what it means to be a hero. _Wonder Woman_ learning what is truly worth fighting for; learning to be good on _Groundhog Day_, and _Lady Bird_ learning to be okay with who she is all explore the experience of discovering something one never knew. > **EXAMPLES** : _Coco; Enough Said; Groundhog Day; Lady Bird; Spider-Man: Homecoming; Wonder Woman; Wreck-It Ralph._ > **DYNAMIC PAIR** : **Training** Stories, stories where characters are trained or prepared for a new environment or set of circumstances. – > **TRUTH STORIES** : stories where characters actively seek out or force others to see the truth about something. > The **Truth** Story often deals with characters searching for or forcing others to discover the truth, such as a young girl searching for the truth behind her mysterious conception, or a woman attempting to help cult members learn the truth about their organisation. _Raiders of the Lost Ark_ unlocking the truth behind the Ark of the Covenant; learning the identity of the stoolie in _Stalag 17_, and the _Spotlight_ team seeking to learn what’s really going on all explore the challenges faced in the search for the truth. > **EXAMPLES** : _Contact; Raiders of the Lost Ark (The Ark Story); Spotlight; Stalag 17; Three Billboards Outside Ebbing Missouri._ > **DYNAMIC PAIR** : To be confirmed. – **As a Consequence** > **NEW RULES CONSEQUENCES** : consequences where characters will have to learn to live in a new or unwanted environment. > The **New Rules** Consequences tend to deal with learning the ropes of a new situation, such as a nationalist being forced to learn a new language after waking in a world where nobody speaks English, or a meat-eater learning to go without meat after a climate change catastrophe. The British people learning to live without _the Queen_ and the monarchy; the downsizers forced to learn a whole new system after everything is _Up in the Air_, and _South Park_ having to learn to live in an overly sensitive and censored society all reflect the experience of learning the rules in an unwanted society. > **EXAMPLES** : _The Queen; Up in the Air; South Park: Bigger, Longer and Uncut._ > **DYNAMIC PAIR** : To be confirmed. – > **IGNORANCE CONSEQUENCES** : consequences where characters will be forced to live with or without knowing the truth. > The **Ignorance** consequences often deal with the turmoil that comes with learning or failing to learn vital information, such as a paranoid recently-divorced husband learning that his wife didn’t actually cheat on him, or the world’s worst filmmaker failing to learn from his mistakes and producing yet another flop. Learning that the rats are cooking the _Ratatouille_; learning about one’s wife having a _Brief Encounter_, and failing to learn about the scam that _Mr. Smith Goes to Washington_ to reveal all reflect the experience of learning or failing to learn vital information. > **EXAMPLES** : _Brief Encounter; In the Heat of the Night; La Dolce Vita; Mr. Smith Goes to Washington; The Princess Bride; Ratatouille._ > **DYNAMIC PAIR** : To be confirmed. # Obtaining **As a Concern/Goal** > **COMPETITIVE STORIES** : stories where characters seek to win a prize from an explicit win or lose competitive scenario. > The **Competitive** story often deals with characters faced with simple win/lose scenarios, such as a slacker seeking to win a year’s supply of ramen in a hacking contest, or a single mother attempting to win a congressional seat. Working to win a championship of _Moneyball_; a bunch of _City Slickers_ getting to the end of the trail, and campaigning to win an _Election_ all define the experience of trying to win one’s prize. > **EXAMPLES** : _Akeelah and the Bee; City Slickers; Election; Moneyball; Pitch Perfect; Surf’s Up; The Dinner Game; The Disaster Artist_. > **DYNAMIC PAIR** : **Security** stories, stories where characters seek to gain some form of personal security. — > **SECURITY STORIES** : stories where characters seek to gain or lose some form of personal security. > The **Security** story often deals with characters working to find some form of personal security, such as a single mother finding a suitable stepfather for her son, or a woman on the brink of bankruptcy looking to find a job. Winning custody of one’s son in a vicious battle pitting _Kramer vs Kramer_; achieving one’s freedom after a _Hunt for the Wilderpeople_, and _The Godfather_ reclaiming his position of power all explore the difficulties of searching for personal security. > **EXAMPLES** : _As Good As It Gets (Neighbors Story); Beauty and the Beast (1946); Central Station; Hunt for the Wilderpeople; Jeffrey; Jerry Maguire (Romance Story); Kramer vs. Kramer; Return to Me; The Godfather; Trainwreck; Volcano; Whale Rider_. > **DYNAMIC PAIR** : **Competitive** stories, stories where characters seek to win a prize from an explicit win or lose scenario. – > **BENEFIT STORIES** : stories where characters seek to acquire or gain something that will benefit themselves or others in some way. > The **Benefit** story often deals with characters’ efforts to acquire or gain something that will have benefits for themselves or others, such as a cheapskate art dealer looking to obtain an original Picasso for his museum, or a gang of criminals looking to pull off one last heist on a casino. Stealing the groom from _My Best Friend’s Wedding_; gaining a million dollar donation while _Bringing Up Baby_, and acquiring a large payment on a _Roman Holiday_ all explore the challenges faced when looking to find something of benefit. > **EXAMPLES** : _Body Heat; Bringing Up Baby; Into the Blue; My Best Friend’s Wedding; Rain Man; Roman Holiday; The Palm Beach Story; The Quiet Man; The Wild Bunch; Three Kings; Unforgiven; What’s Up, Doc?_. > **DYNAMIC PAIR** : **Rebalance** stories, stories where characters pursue the rebalance or protection of the status quo for the greater good. – > **REBALANCE STORIES** : stories where characters pursue the rebalance or protection of the status quo for the greater good. > The **Rebalance** Story frequently deals with characters pursuing the rebalance or protection of the status quo, such as a secret agent attempting to recapture an escaped terrorist, or a cowboy seeking vengeance on the man that killed his family. _Erin Brockovich_ fighting to defeat corruption; getting Marty _Back to the Future_, and tearing down _The Matrix_ all explore the obstacles faced when seeking justice and stability. > **EXAMPLES** : _Back to the Future; Black Panther; Casablanca; Collateral; Enchanted; Erin Brockovich; Finding Nemo; Forbidden Planet; Guardians of the Galaxy; Hacksaw Ridge; Jaws; Kingsman: The Secret Service; Kung Fu Panda; Looper; Mad Max: Fury Road; Minority Report; Moana; Raiders of the Lost Ark (Raiders Story); Shrek; Sicko; Star Trek (2009); Team America: World Police; The Matrix; The Terminator; Thor: Ragnarok; True Grit (1969); Zombieland_ > **DYNAMIC PAIR** : **Benefit** stories, stories where characters seek to acquire or gain something that will benefit themselves or others in some way. **As a Consequence** > **DEBT CONSEQUENCES** : consequences where characters will gain or lose some form of debt. > The **Debt** consequences often deal with characters being faced with some form of debt, such as a business genius losing millions in the stock market, or a chef inheriting his father’s student debt. Losing funding for the _Glee_ club and losing money in a bet because _She’s All That_ both reflect the experience of obtaining some form of debt. > **EXAMPLES** : _Glee: Dream On; She’s All That._ > **DYNAMIC PAIR** : To be Confirmed. ## Understanding **As a Concern/Goal** > **INVESTIGATION STORIES** : stories where characters investigate an event or pattern of events to understand something greater. > The **Investigation** Story usually deals with the examination into an event or series of events, such as a detective looking into a series of murders relating to crossword puzzles, or a priest attempting to figure out what’s behind a series of strange apparitions in his church. Trying to understand who _The Others_ really are; coming to terms with the _Invasion of the Body Snatchers_, and deciphering what involvement the _The Usual Suspects_ had on a case all explore the challenge of investigating something strange. > **EXAMPLES** : _Invasion of the Body Snatchers; Scream; The Accountant; The Bourne Identity; The Others; The Sixth Sense; The Thirteenth Floor; The Usual Suspects; What Lies Beneath._ > **DYNAMIC PAIR** : **Appreciation** stories, stories where characters are made to understand a specific concept. – > **APPRECIATION STORIES** : stories where characters are made to understand a specific concept. > The **Appreciation** Story typically deals with the efforts to force an understanding in another player, such as a police officer working to help a repeat offender understand the danger they pose, or a political activist trying to make their leader understand the importance of campaigning. Pulling off an _Inception_ job to undermine someone’s work, and making the mob understand who’s really in charge _On the Waterfront_ both represent the difficulties faced in making someone understand something. > **EXAMPLES** : _Inception; On the Waterfront._ > **DYNAMIC PAIR** : **Investigation** stories, stories where characters investigate an event or pattern of events to understand something greater. – > **REFLECTION STORIES** : stories where characters come to understand something after a period of reflection. > The **Reflection** Story usually deals with characters coming to some form of understanding about themselves or their environment, such as a parkour whizz coming to understand the dangers of their profession after a tragedy, or a young misfit finding a community that understands her. _The Station Agent_ coming to understand his place in the community; helping Ricky understand that he and Lucy are having a baby in _I Love Lucy_, and helping the Captain understand just how good he has it through _The Sound of Music_ all define the process of understanding something, upon reflection. > **EXAMPLES** : _A Doll’s House; I Love Lucy; Smoke Signals; The Sound of Music; The Station Agent._ > **DYNAMIC PAIR** : To be confirmed. – **As a Consequence** > **BITTER TRUTH CONSEQUENCES** : consequences where characters will be forced to understand the bitter truth of their situation. > The **Bitter Truth** consequences often follow characters forced to grasp the often unpleasant truth of a specific situation, such as a trusting housewife coming to understand the depths of her husband’s infidelity, or an only child understanding that her parents never really liked her. Understanding that _her_ intellectual abilities are too much for the human world; having everyone realise that a marriage of _45 Years_ is on the rocks, and understanding the sheer depth of deceit in _Who’s Afraid of Virginia Woolf?_ all reflect the experience of realising an unpleasant truth. > **EXAMPLES** : _45 Years; her; Who’s Afraid of Virginia Woolf?_ > **DYNAMIC PAIR** : To be confirmed. --- _[View the full topic](https://discuss.dramatica.com/t/contextual-subgenres/1893)._