Network Map of All Storyforms

analysis
#42

I also made a page where you can see some comparisons (using only the twelve essential questions, though)
https://raskoph.lima-city.de/dramatica/equivalence.php

If you notice any mistakes, let me know

[UPDATE] added these:

  • Opposites
  • Same except Problem-Solving Style (e.g. Groundhog Day & Lady Bird, Sing! & Elf, The Old Man and the Gun & Little Women)
  • Same except Ending (e.g. Sing! & I, Tonya, Home Alone & Sicario)
  • Franchise Diversity (i.e. how different the storyforms within one franchise are)
  • Multistory Diversity (i.e. how different the storyforms within one narrative are)
  • Current Storyforms
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#43

You might have noticed that the linked page was broken. This is fixed now. I had to remove the similarity table

I also added “Screenwriter Diversity” and “Director Diversity”, though this is not done yet… I need to fill the table with the screenwriters and directors first :upside_down_face:

Later on, I will add stuff about the posters that I’ve worked on, though I did not get very far with that yet…

UPDATE:
I added all directors and (screen)writers. You can now compare the “diversity” of their storyforms. The formula for calculating is kind of arbitrary, but for me conveys the impact of certain storyform decisions. 1 means that used every single possible answer for the essential 12 questions, for which you would need at least 64 storyforms. 0 means you only have one storyform. you only need two storyforms with different resolve, growth, approach, pss, driver, outcome, judgment to get 0.5; you only need two different os domains to get 0.25; the other 0.25 are given by limit, os concern, os issue and os problem, with concern > issue > problem = limit.

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#44

I’m currently working through the poster stuff.

Does anyone have anything they would like to see statistics on?

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#45

Awesome work @bobRaskoph!

Good grief there are a lot of stories that are OS Physics/Obtaining/Self-Interest/ Pursue-Avoid! (19?)

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#46

I added IMDB genres (and combinations), Release Decades, Countries and Continents.
I only included them in the tables if there are more than 3 entries.

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#47

Amazing work, Bob! Fascinating.

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#48

An update on the Network map: https://raskoph.lima-city.de/dramatica/network.html
I separated the groups into separate maps, just so it’s easier to read… Unfortunately, you will have to mouse over a circle in order to see its title, but you can use the search on the left to find something specific as well.
You can use the first dropdown to choose a genre, which will enlarge the circles with that genre.
You can use the second dropdown to change the colors of the circles

I also created this Standout/Notability page: https://raskoph.lima-city.de/dramatica/standout.php
the bold number in the table tells you the percentage, the smaller number in parenthesis the notability.
The buttons on top change the background colors of the table cells to make it somewhat easier to parse.

For example, of all stories we have, 62% are triumphant, 8% are bleak (personal tragedies), 20% are virtuous (personal triumphs), and 10% are tragic.
The Sport genre has 50% triumphant endings, which is not too notable, but it also has 50% virtuous endings, which stands out.

Legend:
White: stands out a lot (much less percent than all stories)
Light grey: stands out a bit
Grey: does not stand out
Dark Grey: stands out a bit
Black: stands out a lot (much more percent than all stories)

3 Likes
#49

Incredible. Looks like a neural network map of the Story Minds!

#50

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.”

3 Likes
#51

Very cool! Thanks for sharing.

#52

Is there a simple way to compare how many movies are Steadfast to how many movies are Change?

#53

Here you can see the simple comparisons by genre etc. The bold number is the absolute number, and the smaller number next to it is the percentage. (e.g. 319 changed stories (62.4%); 192 steadfast stories (37.6%))

#54

Thank you! The number is way closer to 50/50 than I would have guessed.

#55

Curious if there has been an update to this!

#56

I haven’t added any new storyforms to this since April 2022.
And I don’t think I updated the actual pages since 2021.

From what I can tell, this forum is more or less dead, and my statistics never had much value to begin with, so there’s not much point in making updates.

Maybe I’ll add new storyforms every now and then when I have nothing else to do, but I’m not going to announce it.

1 Like
#57

I used the Dramatica Pro v. 1.6 and came up with a fantastic idea for character and plotting for the MC and overall story. I remember calling and talking to the person that one could talk to in those days to say that I preferred the 1.6 over the new software. When the analysis was done for Legally Blond, not long ago, I realized THERE was my IC for that idea, plus Asimov showed us the way to develop themes for novels and short stories. Never fear, nothing is dead here. Stories and plotting, and characters are always churning with Dramatica. Everyone is plotting and plodding along at individual paces. I enjoyed scanning through your contributions. Thanks.

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#58

I said that I wouldn’t make any announcements, but I did add all the missing storyforms (that I’m aware of) to the database.
The one reason I’m posting here is because we now have a group of storyforms that have the same answers to the basic questions but the ending, and cover all possible endings. And I’m sure nobody is surprised that it’s the “change, stop, do-er, linear, action, optionlock, physics, obtaining, self-interest, pursuit” Form
Triumph (Success/Good): Looper, RRR (Fueling a Revolution), Space Sweepers, Star Trek II: Wrath of Khan
Severe (Success/Bad): The Harder They Fall
Virtue (Failure/Good): El Mariachi, No Sudden Move, Raiders of the Lost Ark (Raiders), Roman Holiday, Star Wars IV - A New Hope (Han), The Limey, Thor 3: Ragnarok
Tragedy (Failure/Bad): Griselda

In addition, I added the newer imdb genres to the stories as well (e.g., Coming-of-Age, Romantic Comedy, Baseball, etc), so you can be even more specific when analyzing genre.

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