Lion King storyform and Act Breakdown

I want to talk a little about Lion King, because I think it’s kind of fascinating. It borrows as much from, say, Othello as it does from Hamlet, and because of that, it has a really interesting Protagonist-Main Character relationship. Because–and this might be controversial–I believe Scar is the Protagonist. But I’m getting ahead of myself.

Main Character: Simba, Heir of Pride Rock

Main Character Resolve: Change
Simba’s attitude towards his birthright is broken: first, he takes it for granted, then later, he throws it away for listless hedonism. However, after a heart-to-heart with Rafiki and the ghostly image of his father, he resolves to take his destiny seriously and revitalize the Pridelands.

Main Character Growth: Start
[Inconclusive.]

Main Character Approach: Do-er
Simba is reckless and quick to take action, frequently to his detriment. When Scar goads him with whispers of the elephant graveyard, he immediately runs into danger, taking Nala with him. When Scar tells him to run away, he does, even to the point of starvation and dying of thirst. It’s not really in Simba’s nature to contemplate or consider his behavior.

Main Character Problem-Solving Style: Linear
No scene is clearer to Simba’s Linear problem-solving style than the stampede scene. Simba was in the canyon, therefore his father tried to save him, therefore he died; Q.E.D. Simba killed his father. He is incapable of realizing all of the little details that Scar manipulated in the background to create that exact situation–the perfect crime.

Overall Story: Matching the Legacy of Mufasa

Overall Story Driver: Action
The opening Driver occurs when Rafiki reveals Simba to the Pridelands, establishing Mufasa’s new heir. This frustrates Scar’s original plan to take over once Mufasa died, prompting Scar to change course. He tricks Simba into risking his life, then convinces him to place himself in the middle of a stampede, forcing Mufasa to jump in, saving Simba and dying in the process. Each time, it is Scar’s or Simba’s actions which prompt the other to make risky decisions.

Overall Story Limit: Timelock
This will be a controversial one, but I think time is constantly hanging over the characters, even if no specific timeline is established. Once Mufasa eventually dies, Simba will have to become king. Once Simba comes of age, Scar will lose his chance to take the throne legitimately. Once the last of the food is eaten in the Pridelands, the lions will have to disperse, and Mufasa’s kingdom will be dissolved for good–proving Scar’s inadequacy for certain. These all have ticking clocks on them, albeit ones without numbers explicitly attached.

Overall Story Outcome: Success
Another controversial one. Although the Protagonist, Scar, does not meet or exceed his predecessor’s legacy, Simba, the true heir to the throne, does, to the point where he looks to the untrained eye like his father brought back to life. The Circle of Life is rebooted, and the story ends as it begins: with a new heir to the throne being born.

Overall Story Judgment: Good
Simba has matured into a real king, not a play-king who puts his friend’s life in danger. He no longer has to run from the past or be afraid that his father won’t be around to save him. He can save himself now.

Overall Story Throughline: Matching the Legacy of Mufasa

Domain: Psychology
This story takes place in the mental space between characters: the legitimacy of Scar’s reign and Simba’s destiny, the relationship between lion and hyena, the benefits and responsibilities of being king.

Concern: Being (Playing a Role)
Everyone’s Concern in the Overall Throughline is the question of Playing a Role–specifically, the role of King of Pride Rock. As previously stated, Simba is the primary candidate, but he is still young–he treats the position more like his own personal playground. Scar, meanwhile, is not much better–his tenuous alliance with the hyenas is throwing off the Circle of Life. Only a king as righteous and powerful as Mufasa can maintain the delicate cycle of balance.

Issue: Desire
Scar’s Desire to become king outstrips his means. Being the weaker, scrappier brother of the mighty Mufasa led him to become jealous and crave his brother’s admiration. Because of this, he must play the long, careful game, making alliances and using deception to get what he wants. Simba, meanwhile, is focused more on what he wants to get out of becoming king, without quite having the ability to achieve it. Thus, he struts and preens to make himself look bigger than a little cub: “I’m brushing up on looking down / I’m working on my roar!”

Problem/Solution: Determination/Expectation
[Inconclusive.]

Act Breakdown:

Overall Throughline: Conceptualizing>Conceiving>Being>Becoming
Scar’s Version: Scar comes up with a plan to seize the throne. He carefully plants ideas into Simba’s head to lure Simba out into the valley and kill both him and Mufasa. He attempts to play the role of king, but fails. In his final moments, he tries to weasel out of his failure by throwing the hyenas under the bus, but this only proves how much of a liar and a traitor he really is.
Simba’s Version: Simba plans all the great things he’ll get to do when he becomes king, like rule the Pridelands and fire Zazu. However, this “paradise” comes at a cost he fully doesn’t understand until Mufasa tells him he can only become king once Mufasa dies–then does so, throwing Simba’s life into sharp relief. He tries to avoid his destiny by becoming a prey animal like Timon and Pumbaa, but when Nala re-enters his life, he can’t keep pretending. With Rafiki’s help, he changes his ways and becomes the king Mufasa always wanted him to be.

Main Character Throughline: Progress>Future>Present>Past
Simba is eager to grow and improve as prince of lions. However, his excitement is tempered when he nearly gets himself killed in the elephant graveyard, and his father reminds Simba of his future, particularly one without him. After watching his father tragically die in front of him (and blaming himself for his father’s death), he runs away to the badlands, where Timon and Pumbaa help him to forget his old life and live for the moment (“You’ve got to put your past behind you!”) However, his past hasn’t forgotten him just yet. Like Scrooge before him, Simba is visited by three guests–first Nala, then Rafiki, and finally the ghostly vision of his father–each imploring him to remember his past and seek out his destiny. He accepts his bloodline, and returns to his old home to take back what is rightfully his.

[Another piece of Dramatica magic. I did absolutely no tinkering to make this throughline, and I couldn’t have described the story better myself. :smiley: ]

**Impact Character Throughline: Memory>Preconscious>Subconscious>Conscious
The Impact Character is represented by Mufasa (and Rafiki, while Mufasa is dead and gone). Mufasa’s Impact on Simba doesn’t really start until after the elephant graveyard. Mufasa reminds Simba that he will always be there in Simba’s memory, even after Mufasa is dead. When Mufasa dies, the image of his death is burned into Simba’s mind, paired with the guilt and terror he felt at seeing Mufasa fall from the cliffside. While Simba stays with Timon and Pumbaa, he mostly associates Mufasa with that sadness and pain. However, as he matures, he begins to feel more conflicted, remembering the lessons Mufasa had taught him and wanting to make his father proud. Rafiki challenges his Subconscious (specifically, his Denial) by arguing that he can either run from his bittersweet Memories, or he can learn from them and move on. Finally, being reminded of who he is challenges Simba’s thought processes and puts him back on track.

Relationship Throughline: Doing>Understanding>Obtaining>Learning
This mostly repeats things I’ve mentioned previously. Mufasa and Simba spend a time together bonding, but Simba doesn’t fully understand his responsibilities until he almost dies in the elephant graveyard and Mufasa dies for real. Since Mufasa (and Rafiki) are absent for this part, we might call Obtaining “Losing,” as Simba loses the Influence he needed from his father. Only once Rafiki returns and helps Simba Learn about his father living on within him.


Okay, so there a particular motivation to me analyzing this movie specifically. If you remember that video I posted the other day about Hercules, the woman in that video (Lindsay Ellis) makes a claim about The Lion King that rankled with me: “The Lion King has a long first act and a short second and third act.” Using the traditional three-act structure, sure: he doesn’t leave the Pridelands until halfway through, after Mufasa dies, and the traditional “Hero’s Journey” model expects the hero to leave his hometown at the end of Act 1. I, however, think this understanding of The Lion King is stupid, and I hope I’ve proved it. The movie’s clearly broken up into four acts, not three: One between Simba’s birth and the incident at the elephant graveyard; Two from there to the canyon scene; Three from there to to when Nala arrives, ish; and Four, from there to when Simba defeats Scar and re-establishes the Circle of Life.

There’s also the thing about Scar being the Protagonist I think it worth talking about. Scar’s a weird Protagonist, but the signs are there: he’s the one who Pursues the throne for 95% of the story. You could even argue that when Simba comes back at the end of Act IV, he’s not being a Protagonist, but rather Scar’s Antagonist! Still, I want to make it clear that I think Lion King’s Outcome is Success and not bittersweet Failure. If we take an objective look at the story, Scar may be the one chasing the throne, but Simba achieving it is the win state. …I dunno, it’s complicated. I’d like to hear your thoughts on this, as well as anything else, in the comments. Thanks for reading, and Hakuna Matata! :slight_smile:

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How is this a problem?

If you can’t define the numbers, you don’t have a Timelock.

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I wonder if instead the Protagonist role gets handed off one or more times. Possible players of this role: Mufasa, Nala, Simba. That seems simpler than trying to make Scar the protagonist, which isn’t compatible with the Outcome of Success (Simba and Scar are definitely working toward different goals at the end, and Scar definitely fails).

I agree with Jim on the Timelock, this was clarified by Chris a bunch of times in the other thread: Timelocks Always Fixed?

Maybe I just subconsciously wanted the story to different from the dime-a-dozen Physics-Domain stories. :stuck_out_tongue: But more seriously, in looking at the story, I felt Being most closely represented the struggles in the story. Simba’s whole thing is he wants to Be king, but he doesn’t really understand all the responsibilities that comes with that. Scar, meanwhile, wants to Be king in order to earn the respect he never felt while living in Mufasa’s shadow. In order to properly Be king, they have to develop Ability that matches their Desire–Scar fails in his hubris, but Simba succeeds.

As to the Timelock… I don’t know. I’ve been following that thread (didn’t want to interject in the middle of a roiling conversation), but I don’t know how convinced I am. For me, the fundamental sensation of a Timelock is urgency: time is running out, and we have to act fast before success slips away from us. An Optionlock, by contrast, is about deliberation: we have to consider every option before picking the wrong one and letting the correct choice get away from us. The death of the Pridelands due to the reign of a false king has been a slow, painful death, but it’s still been continuous. And if, in an alternate version of the story, Simba was training instead of being lazy, and he said, “All right, I’ll come save you–just in a couple years, once I’m ready,” that wouldn’t work. The Pridelands are dying; they don’t have time for him to improve. I’m not as certain about earlier in the story, but my argument about how Scar needed to act to remove Simba from the picture before he grew old enough to take over for Mufasa feels legit. I can see that Scar executes two different options in attempting to kill Simba/Mufasa, but… I don’t know. I guess that doesn’t feel “Option-y” enough. :confused:

As to the Protagonist bit. Looking purely objectively, only one character Pursues the throne: Scar. I suppose you could argue that Simba Considers ruling justly like Mufasa, while Scar Reconsiders the arrangement between lion and hyena. That makes them non-archetypal Protago-Antagonists. (Nala isn’t a Protagonist; she’s the Sidekick, I’d wager. Mufasa’s Conscience, Rafiki’s Help, Zazu’s Hinder, Timon and Pumbaa are Temptation…) I think that clears up my concerns about the Protagonist deal. With two oppositional characters filling the Protagonistic elements, either one succeeding could potentially be Success, depending on framing.

But by all means, I’d love to see further thought on this. Let me know what you think a better storyform would be. (I just thought it was a shame Lion King hadn’t gotten a full analysis yet.)

I thought you had to define the Goal first to accurately see the Pursue element? It can’t just be “the throne”, it has to be something like “a just ruler for the Pridelands” or something like that*. Which Simba is pursuing at the end. He might even be pursuing it at the beginning too, just with the ignorant ambition of a kid who assumes he’ll make a great king.

I liked the attributes you assigned to other characters.

It’s been a while since I saw the film, but I do like the Psychology Domain. The question is, if you remove Scar’s scheming and trickery, is there still a problem? I would say no, which is evidence toward Psychology. But I’m not certain, because the Pridelands and all the Circle of Life stuff sort of imply that ruling this land is a challenge on its own. Even life itself can be a struggle. So maybe even without Scar there would still be the struggle of preparing Simba to be king? Yet that still sounds like Psychology, esp. Being!

* If you’re sure the OS Concern is Being you could tweak it to “being ruled by a just ruler” or “living under a just ruler”.

Not sure if this is what happening with what you’re saying , but subjectively (from the character’s or audience’s point of view) an Optionlock feels like time is running out whereas a Timelock feels like options are running out. When it comes to the Story Limit or any story appreciation found in the Dramatica storyform, sensation is completely locked out of the process.

I would be really surprised if The Lion King wasn’t your usual Main Character in Universe and Overall Story in Physics Genre.

I agree that there should be analysis, but I’m also pretty sure it will end up being very familiar :slight_smile:

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Tried figuring out this one a while ago but gave up (I’m not good at that though). Does the imbalance occur when Scar orchestrates Mufasa’s death? I’d think that an imbalance that leads to the OS Goal would occur earlier in a story (can’t remember when the stampede was).
The best I can think of is everyone has some concern of maintaining or tipping a balance in the way things are whether it’s for the ecosystem or succession of rulers. Maybe the OS Problem has something to do with Inequity. Hyenas and Scar don’t think the current system is fair, and once Scar (as if by magic) ruins the pridelands, the unbalanced food chain is not good for the hungry lionesses either.

I’m not sure if Simba’s problems about “I can’t be a ruler” or believing in Scar’s lie counts as a personal problem since that happens in this story, so I don’t know if that’s something he could take into any story.

Birth of the son and heir to the throne is the first Story Driver.

I think The Lion King started the trend of Disney films prematurely exhausting the Story Limit. Feels like they’ve been doing it ever since.

But specifically here, Mufasa’s death ends the story of “Raising the next Lion King” in Failure and then Timon and Pumbaa come along to distract everyone until the story picks up again…

Maybe it’s two storyforms, one starting after the other ends?

Mustafa’s death is the second Story Driver — the driver between the first and second Signpost. Simba finding out about Scar’s takeover is the driver between the 3rd and 4th Signposts. Simba defeating Scar is the last Story Driver.

It’s all one storyform.

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Jim, totally agree on the one storyform. But I’m wondering based on script length if Mufasa’s death would be the midpoint (third Story Driver)? I think the second Story Driver might be when Simba gets cornered by the hyenas and Mufasa has to save him.

(I’ll try to check the running times on the DVD when I’m home)

Oh, that could be. I couldn’t remember the midpoint Story Driver, so maybe that’s it. Feels late to me, but that may be the case.

What a nightmare. Everywhere I look online people point to Mufasa returning in the clouds as the Midpoint of the story. This isn’t right, is it? That seems way early to me. (Too lazy to watch the movie myself!)

Mufasa’s death (in the stampede) feels like halfway…

But Simba’s vision of Mufasa is waaay too late for a midpoint. That’s at least three-quarters through.

Yeah, the “Story Structure Database entry for The Lion King” is crazy inaccurate. It’s a great example though of what happens when people blend the Four Throughlines.

For reference here’s the OS Plot Progression:

and here’s the Plot Progression for the Influence Character Throughline:

I love the Memory signpost for Mufasa when he comes back and says “Remember me…” That feels completely right.

With a strong Midpoint that’s either Scar taking over or dad dying. Still seems late for the latter though.

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Well I guess this settles it - page 52 of 106:

Close enough for me!

And Elephant Graveyard is at 26, so that settles that one (and why I felt it was so weak - it was a slide, not a bump!)

Thanks @mlucas!

Oh wow, I didn’t really believe you when you said everyone else is claiming the vision is the midpoint. But yep, there it is, on a story structure website…

So bonkers.

It’s funny because, not having seen it in a while, I remembered Simba being shown to everyone and then Mufasa dying. When I put it in earlier this week I was surprised at how much happened before he died. And it definitely felt like a 2-act story with Simba as a cub figuring out his role as next in line, then Mufasa dying, then Simba full-grown and acting on the information he had. Definitely wouldn’t trust anyone that points to Ghost Mufasa as the midpoint.

I pulled out the Blu-Ray and checked the times:

  • 3 minutes - baby Simba is proclaimed as heir
  • 21 minutes - elephant graveyard, Mufasa saves them from hyenas
  • 37 minutes - Mufasa is dead
    • 38 minutes - Scar tells Simba to run
  • 61 minutes - Nala tells Simba that Scar has taken over
  • 80 minutes - Simba defeats Scar

Those are pretty spot on, if those are the Story Drivers! ~20 minutes a piece.

One thing I noticed, after the Elephant Graveyard Mufasa actually says “I have to teach my son a lesson!” (and goes on to teach him a lesson about not looking for trouble) Could that be the OS Signpost 2 of Learning?

If so, it could be woven in with the IC Signpost 2 of Preconscious, since the lesson is about being scared vs. brave, and when to be brave (only when you have to).

Definitely agree with Greg that this felt like a 2-Act story – before Mufasa’s death & after.

Hey @jhull, I just tried storyforming it myself and got the same OS & IC signposts (without using them as input, obviously).

Can I ask, is the fact that Simba “just can’t WAIT to be king” part of his MC issue?

EDIT: never mind, I see you posted it to the Atomizer! I got the same storyform! Another point for Mike Narrative First mentoring! :wink:

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