Four Throughlines, Issue and Emphasis

[Hunter]

@GetSchwifty

Some guy is robbing a bank, he loves robbing banks. The bank is concerned about the number of robberies going on lately and they’re trying to solve that problem. The cop at the bank has been chasing the main character all his life and he’s finally closing in. His girlfriend wants him to stop robbing banks so they can get away and go get married.

That sounds all like it would be purely OS.

@GetSchwifty

I hear what you’re saying but I don’t completely buy it.

I’m working on an experiential story that proves it. Currently, it focuses on the separate points of view, but I’m working to add encodings for things like Problem and Issue. The start of it can be found here:

Separated Characters in Separated Throughlines

I’ve noticed a lot of people have wondered what would happen if the players for various throughlines never met, so I decided to do an experiment. Thanks to ideas sparked by @jhull and Subtext, I developed a treatment using a known Storyform. Here’s the result. The treatment is shown below, but here are notes about the intent. An irrational person, with backing in the government, is taking over a city. Daryl, the MC, is nowhere near this, nor has knowledge of it. Gunner, the IC, runs a company…

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@GetSchwifty

I think the kind of interpretation you’re offering is missing is the central thought that the storymind is attempting to solve a specific problem and trying to look at it from all angles

You’re missing a key word there: The central thought with Dramatica is that a Storymind is trying to solve a specific kind of problem. The specific problem doesn’t need to be the same in each perspective. It only needs to be of the same kind. It’s that word, “kind”, that makes the difference.