Conversation

It's kinda interesting how stories that turn into cult classic landmarks (as opposed to critical darlings), they tend to hew to the most classical of story structures like Campbell. Star Wars, Fight Club, Groundhog Day, Rick and Morty... all classic Campbellian structure.
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All Keanu Reeves movies are pure Campbellian. Point Break, Matrix, John Wick... he might be the most Campbellian hero ever.
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And nobody has ever come up with a meaningful story structure model that's significantly different from Campbell. They simply increase/decrease the number of points in the cycle, kinda like resolution. The most I've seen is 52 (Save the Cat) and the least is 2 (stress/relief).
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When weird avant garde shit doesn't work for you, it's rarely the content. It's usually too much self-important departure from the Campbellian structure.
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McKee has a more "literary" breakdown and his unit is more fluidly defined beats and acts, but it's still basically Campbell.
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The only 2 things I've encountered that feel slightly different are Keith Johnstone's Impro model, and Scott McCloud's triangular model in Understanding Comics, which explores a 2d space of form innovation vs content innovation.
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Replying to
what about when kurt vonnegut gets you to graph the story in terms of, you know, the situation for the protagonists. not totally campbellian although a lot of similarities.
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