The essay "Our Narrative Prison" argues that contemporary film and television suffer from a homogenization of plot and structure, driven by risk-averse studios prioritizing predictable narratives that cater to algorithms and established fanbases. This results in an overreliance on familiar tropes, like the "chosen one" narrative and cyclical, episodic structures, ultimately sacrificing originality and artistic exploration for safe, easily consumable content. This "narrative monoculture" limits creative potential and leaves audiences feeling a sense of sameness and dissatisfaction despite the abundance of available media.
"Telling the Bees" explores the ancient tradition of sharing important family news—births, deaths, marriages—with beehives. This practice, rooted in a belief in the interconnectedness of human and bee communities, saw keepers tapping on hives and whispering the news, sometimes draping them in black crepe for mourning. The essay traces the tradition's decline, linking it to the shift from small-scale, intimate beekeeping to industrialized practices. It reflects on the lost reciprocity between humans and nature, symbolized by this ritual, and suggests that the fading tradition reflects a broader detachment from the natural world and its rhythms. Ultimately, "telling the bees" represents a deep-seated human desire to connect with and acknowledge the living world around us, a connection now increasingly threatened.
HN users discuss the tradition of "telling the bees" and its cultural significance. Some find it a beautiful custom reflecting a deep connection with nature and a recognition of bees' importance. Others view it practically, suggesting it might have served to calm the bees during disruptive events like funerals. The possibility of subconscious communication with bees is raised, as well as the parallel custom of including bees in inheritance. Skepticism is also present, with some commenters seeing the tradition as purely superstitious. The discussion also touches upon the decline of bee populations and broader themes of ecological awareness and respect for the natural world. A few comments mention personal experiences with beekeeping and the surprising gentleness of bees under certain circumstances.
This Lithub article discusses the lasting impact of the "Mike Daisey and Apple" episode of This American Life, which was retracted after significant portions of Daisey's monologue about Apple's Chinese factories were revealed to be fabrications. The incident forced TAL and its host, Ira Glass, to rigorously examine their fact-checking processes, leading to the creation of a dedicated fact-checking department and a more skeptical approach to storytelling. The piece emphasizes how the Daisey episode served as a pivotal moment in podcasting history, highlighting the tension between narrative truth and factual accuracy and the crucial importance of thorough verification, especially when dealing with sensitive or impactful subjects. The incident ultimately strengthened This American Life's commitment to journalistic integrity, permanently changing the way the show, and arguably the podcasting industry as a whole, approaches fact-checking.
Hacker News users discuss the Ira Glass/Mike Daisey incident, largely agreeing that thorough fact-checking is crucial, especially given This American Life's journalistic reputation. Some commenters express continued disappointment in Daisey's fabrication, while others highlight the pressure to create compelling narratives, even in non-fiction. A few point out that TAL responded responsibly by retracting the episode and dedicating a subsequent show to the corrections. The lasting impact on Glass and TAL's fact-checking processes is acknowledged, with some speculating on the limitations of relying solely on the storyteller's account. One commenter even suggests that the incident ultimately strengthened TAL's credibility. Several users praise the linked Lithub article for its thoughtful analysis of the episode and its aftermath.
The Discworld, a flat disc carried on the backs of four elephants standing on a giant turtle, operates on narrative causality rather than strict physics. Things happen because the story requires them to, allowing for both humorous and poignant explorations of human nature and society. Magic is real, but unpredictable and often tied to belief, while the conventional laws of science are frequently bent or broken. This unique setting allows Pratchett to satirize everything from fantasy tropes and political structures to philosophy and the nature of belief itself, creating a world that is both absurd and deeply insightful.
The Hacker News comments on "Discworld Rules" largely praise Venkatesh Rao's insightful distillation of Pratchett's narrative style. Several commenters highlight the "rules" about how magic works, specifically the idea of narrative causality and how belief shapes reality on the Discworld. The observation that Discworld satirizes existing tropes and cliches while simultaneously using them effectively also resonated. Some discussion revolved around how these "rules" apply to other fictional worlds and real-world phenomena like religion and politics. A few commenters mentioned their favorite Discworld books and characters, adding a personal touch to the appreciation for Rao's analysis. One commenter aptly summarized the essence of the Discworld as "reality is a negotiable construct."
The blog post "Narrative and the Structure of Art" explores how narrative structure, typically associated with storytelling, also underpins various art forms like music, visual art, and even abstract works. It argues that art relies on creating and resolving tension, mirroring the rising action, climax, and resolution found in traditional narratives. This structure provides a framework for engaging the audience emotionally and intellectually, guiding them through a journey of anticipation and satisfaction. While the narrative might not be a literal story, it manifests as a progression of elements, whether melodic phrases in music, brushstrokes in a painting, or shifting forms in a sculpture, ultimately creating a cohesive and meaningful experience for the observer.
HN users generally found the linked article thought-provoking, though somewhat meandering and lacking in concrete examples. Several commenters appreciated the exploration of narrative structure in different art forms beyond traditional storytelling. One compelling comment highlighted the idea of "nested narratives" and how this concept applies to music, visual art, and even architecture. Another interesting point raised was the distinction between narrative and "narrativity," with the suggestion that even abstract art can possess a sense of unfolding or progression that resembles a narrative. Some users also debated the role of intent versus interpretation in determining the "narrative" of a piece, and whether the artist's intended narrative is ultimately more important than the meaning a viewer derives. A few commenters expressed skepticism about the overall premise, finding the concept of narrative in abstract art to be a stretch.
Ren'Py is a free and open-source engine designed for creating visual novels, a genre of interactive storytelling that blends text, images, and sound. It simplifies development with a Python-based scripting language, allowing creators to easily manage dialogue, branching narratives, and character interactions. Ren'Py supports a wide range of features including animated sprites, movie playback, and various transition effects, making it accessible to both novice and experienced developers. It’s cross-platform, meaning games created with Ren'Py can be deployed on Windows, macOS, Linux, Android, iOS, and web browsers, reaching a broad audience. The engine prioritizes ease of use and provides comprehensive documentation and a supportive community, enabling creators to focus on crafting compelling stories.
Hacker News users discuss Ren'Py's ease of use, especially for non-programmers, enabling them to create visual novels with minimal coding. Several commenters praise its accessibility and the large community supporting it. Some note its limitations, especially regarding more complex game mechanics beyond the visual novel genre, though acknowledge its suitability for its intended purpose. The scripting language is described as simple yet powerful enough for narrative-focused games. A few users mention its popularity for adult visual novels, though also highlight its use in more mainstream and non-adult projects. The engine's cross-platform compatibility and active development are also seen as positive aspects.
Tony Fadell, in an excerpt from his book "Build," reveals storytelling lessons learned from Steve Jobs while working on the iPod and iPhone. Jobs emphasized creating a simple, almost reductive narrative focused on a singular core message, avoiding feature lists. He believed in crafting an emotional connection with the audience by focusing on the "why" – how the product improves lives – rather than just the "what" – its technical specifications. Jobs also meticulously rehearsed presentations and product demos, controlling every detail to ensure a compelling and persuasive narrative. Finally, he insisted on empowering others to tell the story too, ensuring consistent messaging across the organization.
HN commenters largely discussed the value of storytelling, particularly in a business context. Some were skeptical of the excerpt's framing of Jobs as a "master storyteller," arguing that his success stemmed more from product vision and marketing savvy. Others pointed out the importance of substance over storytelling, suggesting that a compelling narrative can't mask a mediocre product. A few commenters shared personal anecdotes about effective storytelling in their own careers, while others debated the ethics of manipulating emotions through narrative. One highly upvoted comment highlighted the difference between manipulative and inspirational storytelling, emphasizing the importance of authenticity and genuine belief in the message.
Jan Miksovsky's blog post presents a humorous screenplay introducing the fictional programming language "Slowly." The screenplay satirizes common programming language tropes, including obscure syntax, fervent community debates, and the promise of effortless productivity. It follows the journey of a programmer attempting to learn Slowly, highlighting its counterintuitive features and the resulting frustration. The narrative emphasizes the language's glacial pace and convoluted approach to simple tasks, ultimately culminating in the programmer's realization that "Slowly" is ironically named and incredibly inefficient. The post is a playful commentary on the often-complex and occasionally absurd nature of learning new programming languages.
Hacker News users generally reacted positively to the screenplay format for introducing a programming language. Several commenters praised the engaging and creative approach, finding it a refreshing change from traditional tutorials. Some suggested it could be particularly effective for beginners, making the learning process less intimidating. A few pointed out the potential for broader applications of this format to other technical subjects. There was some discussion on the specifics of the chosen language (Janet) and its suitability for introductory purposes, with some advocating for more mainstream options. The practicality of using a screenplay for a full language tutorial was also questioned, with some suggesting it might be better suited as a brief introduction or for illustrating specific concepts. A common thread was the appreciation for the author's innovative attempt to make learning programming more accessible.
The article explores rule-based programming as a powerful, albeit underutilized, approach to creating interactive fiction. It argues that defining game logic through a set of declarative rules, rather than procedural code, offers significant advantages in terms of maintainability, extensibility, and expressiveness. This approach allows for more complex interactions and emergent behavior, as the game engine processes the rules to determine outcomes, rather than relying on pre-scripted sequences. The author advocates for a system where rules define relationships between objects and actions, enabling dynamic responses to player input and fostering a more reactive and believable game world. This, they suggest, leads to a more natural feeling narrative and simpler development, especially for managing complex game states.
HN users discuss the merits and drawbacks of rule-based programming for interactive fiction, specifically in Inform 7. Some argue that while appearing simpler initially, rule-based systems can become complex and difficult to debug as interactions grow, leading to unpredictable behavior. Others appreciate the declarative nature and find it well-suited for IF's logic, particularly for handling complex scenarios with many objects and states. The potential performance implications of a rule-based engine are also raised. Several commenters express nostalgia for older IF systems and debate the balance between authoring complexity and expressive power offered by different programming paradigms. A recurring theme is the importance of choosing the right tool for the job, acknowledging that rule-based approaches might be ideal for some types of IF but not others. Finally, some users highlight the benefits of declarative programming for expressing relationships and constraints clearly.
The blog post "Standard Patterns in Choice-Based Games" identifies common narrative structures used in choice-driven interactive fiction. It categorizes these patterns into timed choices, gated content based on stats or inventory, branching paths with varying consequences, hubs with radiating storylines, and hidden information or states that influence outcomes. The post argues that these patterns, while useful, can become predictable and limit the potential of the medium if overused. It advocates for greater experimentation with non-linearity and player agency, suggesting ideas like procedurally generated content, emergent narrative, and exploring the impact of player choice on the world beyond immediate consequences.
HN users discuss various aspects of choice-based games, focusing on the tension between player agency and authorial intent. Some highlight the "illusion of choice," where options ultimately lead to similar outcomes, frustrating players seeking meaningful impact. Others argue for embracing this, suggesting that the emotional journey, not branching narratives, is key. The implementation of choice is debated, with some advocating for simple, clear options, while others find value in complex systems with hidden consequences, even if they add development complexity. The importance of replayability is also raised, with the suggestion that games should offer new perspectives and outcomes on subsequent playthroughs. Finally, the use of randomness and procedural generation is discussed as a way to enhance variety and replayability, but with the caveat that it must be carefully balanced to avoid feeling arbitrary.
Summary of Comments ( 77 )
https://news.ycombinator.com/item?id=43986424
Hacker News users discuss the Aeon essay's claim of narrative homogeneity in film and TV, largely agreeing with the premise. Several attribute this to risk aversion by studios prioritizing proven formulas and relying on algorithms and focus groups. Some argue this stifles creativity and leads to predictable, uninspired content, while others point to the cyclical nature of trends and the enduring appeal of archetypal stories. A compelling argument suggests the issue isn't plot similarity, but rather the presentation of those plots, citing a lack of stylistic diversity and over-reliance on familiar visual tropes. Another insightful comment notes the increasing influence of serialized storytelling, forcing writers into contrived plotlines to sustain long-running shows. A few dissenters argue the essay overstates the problem, highlighting the continued existence of diverse and innovative narratives, particularly in independent cinema.
The Hacker News post "Our Narrative Prison," linking to an Aeon essay about the perceived homogeneity of film and TV plots, has generated a robust discussion with a variety of viewpoints. Several commenters agree with the premise of the article, citing the prevalence of familiar tropes and predictable storylines. They discuss how risk aversion by studios, reliance on algorithms and data analysis, and the influence of streaming services contribute to this perceived stagnation. Some suggest this leads to a feedback loop where audience expectations become further entrenched, reinforcing the production of similar content.
A common thread among these comments is the idea that financial pressures and the perceived need to appeal to the widest possible audience push creators towards safe, established narratives. This focus on profitability over artistic innovation is seen as a key driver of the "narrative prison" described in the original article. The influence of streaming services, particularly their use of data to analyze viewer preferences, is also highlighted as potentially exacerbating this trend.
Several commenters offer alternative explanations, however. Some argue that the perception of sameness is exaggerated, and that a wider range of stories and genres is available than the article suggests. They point to the continued existence of independent films, foreign cinema, and niche genres as evidence of ongoing narrative diversity. Others suggest that the human brain is naturally drawn to familiar narratives and archetypes, and that the perceived homogeneity is simply a reflection of these inherent preferences. This perspective suggests the issue is less about a decline in creativity and more about the fundamental nature of storytelling itself.
Another point of discussion revolves around the cyclical nature of trends in popular culture. Some commenters argue that the current perceived stagnation is a temporary phase and that new and innovative forms of storytelling will inevitably emerge. They draw parallels to previous periods in film and television history, suggesting that creativity tends to ebb and flow.
Finally, a number of commenters discuss the role of audience expectations and the feedback loop it creates. They suggest that audience demand for familiar narratives reinforces the production of similar content, creating a self-perpetuating cycle. This raises the question of whether the "narrative prison" is imposed by studios and algorithms, or whether it is, at least in part, a reflection of audience preferences.
Overall, the comments on Hacker News present a multifaceted discussion of the issues raised in the Aeon essay. While there is agreement on the prevalence of certain narrative tropes, there is disagreement on the causes and implications of this phenomenon. The discussion highlights the complex interplay of creative forces, economic pressures, and audience expectations in shaping the landscape of contemporary film and television.