50 Different Types of fractal HOLON/parton Narrative Framework,
with 3 Examples of Each
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Fractal HOLON/parton Narrative Framework
Description of Narrative Framework
Example
3 Existing Examples of this Type of Story
1
Scale-Level Storytelling
Each story (narreme) is written at different scale-levels of detail.
Macro: The city was under threat from a looming storm. Meso: John, a city engineer, had to protect the city’s power grid. Micro: Inside John, a single cell was energized by his determination, fueling his actions.Resolution: John successfully safeguarded the grid, and the city weathered the storm.
“The Great Gatsby” by F. Scott Fitzgerald, “To Kill a Mockingbird” by Harper Lee, “1984” by George Orwell
2
Competitive Storytelling
Multiple authors write their own versions of the same story (narreme), each competing for reader attention.
Author A: “The dragon, fierce and majestically ugly, stole the princess’s crown.” Author B: “The dragon, misunderstood and lonely, found a lost crown.”Resolution: Readers voted, and the dragon was deemed misunderstood (ugly or not; depends if you like that kind of thing), changing the narrative to a friendship between the princess and the dragon.
“The Canterbury Tales” by Geoffrey Chaucer,”Decameron” by Giovanni Boccaccio, “One Thousand and One Nights”
3
Modular Storytelling
Each story (i.e., narreme) is composed of interchangeable “modules” that can be rearranged to create different narratives.
Module 1: A princess.Module 2: A haunted forest.Module 3: A “magical” lost IoT crown.Resolution:Rearranged – In a haunted forest, a lost IoT (Internet of Things) crown found a princess, who used it to reclaim her kingdom.
“Choose Your Own Adventure” books, “Life’s Lottery” by Kim Newman, “Hopscotch” by Julio Cortázar
4
Recursive Storytelling
Each story (i.e., narreme) contains a smaller story within it, which in turn contains an even smaller story, and so on.
Sarah Sniffles read a book about Maelish, a sailor who dreamt of a bird. The bird sang a song about a seed. The seed dreamt of becoming a tree. Resolution: Sarah planted a seed, inspired by the story, which grew into a beautiful story tree.
“The Neverending Story” by Michael Ende,”The Saragossa Manuscript” by Jan Potocki, “House of Leaves” by Mark Z. Danielewski
5
Evolving Storytelling
Each story (unit of culture; narreme; fractal HOLON/parton) evolves over time based on reader feedback or interaction.
Original: The knight fought the fugly dragon.Resolution:Evolved: The tricky-eyed knight negotiated with the fugly dragon, readers having voted for diplomacy, or cyberdemocracy. The knight and fugly dragon became close allies, protecting the weird kingdom together.
“The Walking Dead” comic series, “Mass Effect” video game series, “Dragon Age” video game series
6
Multi-Dimensional Storytelling
Each story (each narreme) exists in multiple “dimensions” or versions that reflect different perspectives or alternate realities.
Dimension 1: The astronaut floated in the emptiness of space. Dimension 2: The astronaut, a renowned space poet, composed verses in the vast cosmic library. Resolution: Readers chose the poetic dimension, where the astronaut’s words inspired a new generation of explorers.
“The Dark Tower” series by Stephen King, “His Dark Materials” series by Philip Pullman, “Interstellar” film
Each story (or, narreme) is modeled after a biological system, with characters, settings, and plot points representing different elements (units / fractal HOLON/partons) of the system.
The city (organism) was under threat from a natural disaster (disease). The mayor (brain) had to coordinate the city’s response (immune system).Resolution: The city survived, its people (cells) stronger and more united than before.
“The Andromeda Strain” by Michael Crichton,”Oryx and Crake” by Margaret Atwood, “The War of the Worlds” by H.G. Wells
8
Quantum Storytelling
Each story (narreme; fractal HOLON/parton) exists in a superposition of states until the reader interacts with it, collapsing it into a single state.
Until read, the story of the cat was both happy and sad. Resolution: Upon reading, it became a happy tale of a cat’s adventure, the cat having found a new home.
Each story is an ecosystem, with characters and plot-points representing different species, that interact in complex ways.
In the narrative forest, the protagonist (lion) and antagonist (hyena) competed for the same goal (prey / a wildebeest). Resolution: The protagonist outsmarted the antagonist, securing food for their family.
“Dune” by Frank Herbert, “The Jungle Book” by Rudyard Kipling, “Watership Down” by Richard Adams
10
Emergent-whole Storytelling
Each story is composed of simple narrative units (fractal HOLON/partons) that interact to produce complex narrative phenomena (using: surprises / twists / reversals).
Simple sentences, when combined, revealed a complex tale of a detective solving a mystery. Resolution: The detective pieced together the clues, catching the culprit and restoring peace to the city.
Each whole-part of the story contains the whole overall story in a condensed form.
Each chapter of the book was a microcosm of the protagonist’s journey. Resolution: The protagonist overcame their challenges, each victory a reflection of their overall growth.
“Cloud Atlas” by David Mitchell, “Slaughterhouse-Five” by Kurt Vonnegut, “The Hours” by Michael Cunningham
12
Chaos-System Storytelling (as in: Complex Systems Science)
Small changes in the story’s initial conditions lead to large differences in the story’s outcome.
A butterfly flapping its wings led to a hurricane of events in the protagonist’s life. Resolution: The protagonist adapted to the changes, finding happiness in their new circumstances.
“Jurassic Park” by Michael Crichton, “The Butterfly Effect” film, “Ray Bradbury’s A Sound of Thunder” short story & film
13
Networked Storytelling
Each story is a node in a network, connected to other stories through shared characters, themes, or settings.
The detective’s case was just one node in a network of interconnected mysteries. Resolution: Solving the case revealed connections to other mysteries, forming a web of narrative intrigue.
Stories evolve through a process of Variation (changes in plot, characters, etc.), Selection (reader feedback), and Transmission (sequels, spin-offs, tie-ins, etc.).
The sci-fi saga evolves over time, its plot and characters adapting to the changing tastes of its readers. Resolution: The saga concluded with a satisfying ending that reflected its narrative evolution.
The “Star Trek” franchise,”Doctor Who” series, “Harry Potter” series by J.K. Rowling
15
Thermodynamic Storytelling
Stories follow the Laws of Thermodynamics, with narrative energy and entropy changing over time.
The narrative energy of the story increases as the plot heats up, reaching a peak at the climax before gradually cooling down. Resolution: The story ended on a peaceful note, the narrative energy dissipating as the characters found resolution.
“The Lord of the Rings” by J.R.R. Tolkien, “A Song of Ice and Fire” series by George R.R. Martin, “The Wheel of Time” series by Robert Jordan
16
Fractal Storytelling (Type I)
Each part of the story reflects the whole, in a fractal pattern (i.e., fractal HOLON/partons).
The protagonist’s day (whole) is reflected in each hour (part), with each hour containing elements of struggle, growth, and resolution.
“The Aleph” by Jorge Luis Borges, “If on a Winter’s Night a Traveler” by Italo Calvino, “The Garden of Forking Paths” by Jorge Luis Borges
17
Fractal Storytelling (II)
Each character is a fractal HOLON/parton, with a unique narrative that contributes to the overall story.
Each character in the city has their own story, but together they form the narrative of the city itself.
“Dubliners” by James Joyce, “Winesburg, Ohio” by Sherwood Anderson, “The Canterbury Tales” by Geoffrey Chaucer
18
Fractal Storytelling (III)
Each whole-part of the story is a fractal HOLON/parton that contributes to the overall narrative.
Each event in the protagonist’s life is a fractal HOLON/parton, contributing to the overall narrative, of their growth and transformation.
“A Portrait of the Artist as a Young Man” by James Joyce, “The Odyssey” by Homer, “The Hero with a Thousand Faces” by Joseph Campbell (see also this paper)
19
Integrative Storytelling
Each story integrates upwards, into a larger narrative.
Each individual story (of a soldier) integrates into the larger narrative of the war.
“War and Peace” by Leo Tolstoy, “The Things They Carried” by Tim O’Brien, “Band of Brothers” by Stephen E. Ambrose
20
Cooperative Storytelling
Different stories or parts of a story (narreme) cooperate to form a cohesive narrative (i.e., fractal HOLON/partons)
Different stories from the perspectives of various characters cooperate to form a complete picture of the event.
“Rashomon” by Akutagawa Ryunosuke, “As I Lay Dying” by William Faulkner, “The Sound and the Fury” by William Faulkner
21
Command-Control Downwards/Inwards Storytelling
Larger narrative elements command and control smaller narrative elements.
“Moby Dick” by Herman Melville, “1984” by George Orwell, “Brave New World” by Aldous Huxley
22
Nested Storytelling
Like a fractal HOLON/parton, each story is nested within another, forming a hierarchy (a fractal HOLON/parton) of narratives.
A family’s story is nested within the story of their town, which is nested within the story of their country, and so on.
“One Hundred Years of Solitude” by Gabriel Garcia Marquez, “Middlemarch” by George Eliot, “In Search of Lost Time” by Marcel Proust
23
Hierarchical Storytelling
The story is structured in a fractal HOLON/parton hierarchy, with each level of the fractal HOLON/parton hierarchy contributing to the overall narrative.
The protagonist’s personal journey is part of a larger societal struggle, which is part of an even larger historical context.
“Les Misérables” by Victor Hugo, “Gone with the Wind” by Margaret Mitchell, “War and Peace” by Leo Tolstoy
24
Feedback-Loop Storytelling
The story is structured as a feedback loop, with the outcome of each event influencing the starting conditions of the next.
The protagonist’s actions have consequences that influence their future actions, creating a feedback loop of cause and effect.
“A Christmas Carol” by Charles Dickens, “Groundhog Day” film, “The Edge of Tomorrow” film (adapted from All You Need Is Kill)
25
Dynamic System Storytelling
The story is a dynamic system (a fractal HOLON/parton), with characters and events interacting in complex ways to drive the narrative.
The interactions between characters create a dynamic system of relationships that drives the narrative.
“Pride and Prejudice” by Jane Austen, “Game of Thrones” by George R. R. Martin, “The Wire” TV series
26
Nonlinear Storytelling
The story is nonlinear, with events not necessarily occurring in chronological order.
The story jumps back and forth in time, revealing the narrative in a nonlinear fashion.
“Slaughterhouse-Five” by Kurt Vonnegut, “Catch-22” by Joseph Heller, “Pulp Fiction” film
27
Self-Similar Storytelling
Different parts of the story (as a unit of culture; a narreme; a fractal HOLON/parton) are self-similar (fractal), reflecting the same patterns or themes.
Different parts of the protagonist’s journey reflect the same pattern of struggle and growth.
“The Lord of the Rings” by J.R.R. Tolkien, “The Hero with a Thousand Faces” by Joseph Campbell, “Star Wars” film series
28
Iterative Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is iterative, with each iteration of the story building on the last.
Each iteration of the protagonist’s journey builds on the last, leading to their ultimate growth and transformation.
“The Dark Tower” series by Stephen King, “The Matrix” film series, “Groundhog Day” film
29
Cyclical Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is cyclical, with the end of the story looping back to the beginning.
The protagonist’s journey ends where it began, creating a cyclical narrative.
“Finnegans Wake” by James Joyce, “The Circle” by Dave Eggers, “The Lion King” film
30
Self-Organizing Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is self-organizing, with narrative elements spontaneously organizing into a coherent story.
The seemingly random events in the protagonist’s life spontaneously organize into a coherent narrative of growth and transformation.
“Cloud Atlas” by David Mitchell, “The Stand” by Stephen King, “Lost” TV series
31
Adaptive Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) adapts and changes, based on the reader’s choices or actions.
(I’m tired of giving examples now; I think it’s all pretty self-explanatory by now? (& IF: not, come back later & try harder to understand – ? ))
“Choose Your Own Adventure” books; also “Bandersnatch” episode of “Black Mirror”, “Detroit: Become Human” video game
32
Parallel Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) unfolds in parallel tracks, each offering a different perspective or narrative.
…Ditto. Still too tired. If you don’t get it by now; then I give up. You’re unteachable.
“Rashomon” by Akutagawa Ryunosuke, “The Poisonwood Bible” by Barbara Kingsolver, “A Song of Ice and Fire” series by George R.R. Martin
33
Interactive Storytelling
The (as a unit of culture; a narreme; a fractal HOLON/parton) involves direct interaction from the reader or audience.
Ditto, etc..
“Minecraft: Story Mode” video game , “Her Story” video game, “Bandersnatch” episode of “Black Mirror”
34
Immersive Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) immerses the reader or audience in the narrative world, often using multimedia or virtual reality.
“Sleep No More” immersive theatre, “The Void” virtual reality experiences, “Telling Lies” video game
35
Transmedia Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is told across multiple media platforms, each contributing to the overall narrative.
“The Matrix” franchise, the “Star Wars” franchise, the “Harry Potter” franchise, “The EthiSizer” franchise, etc.
36
Generative Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is generated or evolves based on a set of rules or an algorithm.
“No Man’s Sky” video game, “Minecraft” video game, “Elite: Dangerous” video game
37
Episodic Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is told in discrete episodes, each contributing to the overall narrative.
“Breaking Bad” TV series, “Game of Thrones” TV series, “The Sopranos” TV series
38
Non-Linear Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) does not follow a linear, chronological order, instead jumping between different times or perspectives.
“Pulp Fiction” film, “Memento” film, “Catch-22” by Joseph Heller
39
Procedural Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is generated procedurally, often using algorithms or systems to create narrative content.
The story (as a unit of culture; a narreme; a fractal HOLON/parton) branches based on the reader’s choices, leading to multiple possible endings.
“Until Dawn” video game, “Life is Strange” video game, “The Stanley Parable” video game
41
Collective Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is created collectively by a group of authors or contributors.
“Wikipedia”(!!!), “SCP Foundation”, “World of Warcraft” video game
42
Environmental Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is told through the environment or setting, rather than explicit narrative exposition.
“Dark Souls” video game, “Bioshock” video game, “The Last of Us” video game
43
Experiential Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is experienced firsthand by the reader or audience, often through virtual or augmented reality.
“Resident Evil 7: Biohazard” VR game, “Superhot VR” game, “Pokemon Go” AR game
44
Open-World Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) takes place in an open world, allowing the reader or player to explore and discover the narrative at their own pace.
“The Elder Scrolls V: Skyrim” video game , “The Witcher 3: Wild Hunt” video game, “Red Dead Redemption 2” video game
45
Asynchronous Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is told asynchronously, with different parts of the story happening at different times or in different places.
“The Lake House” film, “The Guernsey Literary and Potato Peel Pie Society” by Mary Ann Shaffer and Annie Barrows, “Atonement” by Ian McEwan
46
Augmented Reality Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is told through augmented reality, overlaying the narrative on the real world.
“Pokemon Go” AR game, “Ingress” AR game, “Harry Potter: Wizards Unite” AR game
47
Role-Playing Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is told through role-playing, with the reader or player taking on the role of a character in the narrative.
“Dungeons & Dragons” tabletop RPG, “World of Warcraft” MMORPG, “Final Fantasy VII” video game
48
Visual Novel Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is told through a visual novel format, combining text with visuals and often including branching narratives.
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is told through a series of documents (each, as a unit of culture; a narreme; a fractal HOLON/parton) , such as letters, diary entries, or newspaper clippings.
“Dracula” by Bram Stoker, “The Color Purple” by Alice Walker, “Frankenstein” by Mary Shelley
50
Anthology Storytelling
The story (as a unit of culture; a narreme; a fractal HOLON/parton) is told as an anthology, a collection of short stories or episodes (units/narremes/ f{H/p}s) that each contribute to the overall narrative, which is itself – as a unit of culture, a narreme, a fractal HOLON/parton.
These narrative framework types all reflect the Evolutionary Culturology scientific principle, of fractal HOLON/partons – (1) integrating `upwards’ in scale, (2) cooperating/competing `laterally’, and (3) commanding and controlling `downwards’ in scale the units (fractal HOLON/partons) inside them.
For the full post on the Ev Cult weblog, see here.
This has been a blogpost byVelikovsky of Newcastle
Bio:
Dr J. T. Velikovsky Ph.D. (aka: Velikovsky of Newcastle) is an Evolutionary Culturologist, and also Transmedia (movies / TV / games / new media) writer-director-producer-designer and consultant. His 2016 (Evolutionary Culturology) doctoral dissertation is also known as The StoryAlity Ph.D.[1] In the Appendix of that 2016 Ph.D., he published on his discovery of the fractal HOLON/parton structure & function of the unit of culture (aka the `meme’), founding the Meta-meta-science of Evolutionary Culturology.[2]
He is a PhD graduate of The Newcastle School of Creativity[3] and a member of the Cultural Evolution Society, the Cognitive Immunology Research Collaborative, the International Screenwriting Research Network, and the Applied Evolutionary Epistemology Lab.[4]
Velikovsky of Newcastle’s research interests include: Evolutionary Culturology, Applied Evolutionary Epistemology, ArtScience,[5] Consilience, Systems Science, Communication Science, Narrative, Transmedia, Technology, Design, Creative Practice Theory, Cognitive Science, Cognitive Informatics, Natural and Artificial Intelligence, Information Science, Computational Creativity, and Evolutionary Culturology.
StoryAlity 
