Final version of the previs
In this version we add some shots to enhance the hunter to prey topic.
Some issues: some shots are a bit extra, and the body language didn’t really show the personality of the character, which still need to be improved.
Heavy Object Planning
References
1.pulling the door
2.dragging body
The rough blocking
The story is a bit dull in this version, I will incorporate a scene where an on-ground person stands up, opens the door, and then lies down again.
About the animation style, I want to go for a more cartoony style, however the model is too realistic, so i may consider changing the model.
Storytelling
Storytelling is a basic part of human communication. Through stories, people share experiences, pass down cultural memories, and explore questions about life, morality, conflict, and change. In film and animation, story structure helps organize these ideas into a clear emotional journey for the audience.
1. Film Narrative Hierarchy
A story is made up of smaller narrative units. These units usually move from large to small:
Story → Act → Sequence → Scene → Shot → Beat / Frame
This hierarchy shows that storytelling is not only about the whole plot. Every scene, shot, and beat should support the larger narrative. A strong story structure helps creators control pacing, tension, emotion, and character development.
2. Three-Act Structure
The Three-Act Structure is one of the most common narrative models. It divides a story into three main parts:
Act 1: Setup
This part introduces the world, the main character, and the central problem. The audience learns who the protagonist is and what their normal life looks like before change begins.
Act 2: Confrontation
This is usually the longest part of the story. The protagonist faces obstacles, makes choices, and experiences increasing pressure. Conflict becomes stronger, and the character is pushed out of their comfort zone.
Act 3: Resolution
The main conflict reaches its final stage and is resolved. The story shows whether the character succeeds, fails, or changes in some important way.
The core idea of this structure is simple: a story needs a clear beginning, middle, and end. It is especially useful for building rising tension through obstacles.
3. Hero’s Journey
The Hero’s Journey, also called the Monomyth, was developed by Joseph Campbell. It suggests that many myths and heroic stories share a similar pattern. A hero leaves their ordinary world, enters an unfamiliar world, faces trials, and returns transformed.
Christopher Vogler later simplified Campbell’s ideas into a more practical 12-step structure for screenwriting. These steps can be grouped into three larger stages:
Departure
The hero begins in the ordinary world, receives a call to adventure, may refuse the call, meets a mentor, and finally crosses the threshold into a new world.
Initiation
The hero faces tests, meets allies and enemies, approaches the most dangerous place, and experiences a major ordeal. This is where the hero confronts fear, danger, or inner weakness.
Return
After gaining a reward or lesson, the hero returns home or enters a new stage of life. A final test proves whether the hero has truly changed.
The Hero’s Journey is useful for stories about growth, adventure, identity, and transformation. It works especially well in fantasy, action, coming-of-age stories, and myths.
4. Five-Act Structure
The Five-Act Structure is often connected with Freytag’s Pyramid. It offers a more detailed way to organize dramatic tension.
Act 1: Setup
The protagonist, setting, and basic situation are introduced. An inciting incident begins the main conflict.
Act 2: Complication
The conflict becomes more complex. The protagonist faces new challenges, and the pressure continues to rise.
Act 3: Peak / Climax
The tension reaches its highest point. A major event changes the direction of the story and affects the characters deeply.
Act 4: Descent
The story moves toward its inevitable result. The audience begins to feel that the consequences cannot be avoided.
Act 5: Resolution
The conflict is completed. The audience experiences catharsis, which means the emotional pressure of the story is released.
This structure is useful for stories with strong emotional build-up, tragedy, irony, or dramatic consequences.
5. Dan Harmon’s Story Circle
Dan Harmon’s Story Circle is a simplified version of the Hero’s Journey. It turns the character’s emotional movement into eight clear steps:
- You — A character is in a familiar comfort zone.
- Need — The character wants something.
- Go — The character enters an unfamiliar situation.
- Search — The character adapts to the new world.
- Find — The character gets what they wanted.
- Take — The character pays a price.
- Return — The character returns to a familiar situation.
- Change — The character has changed.
The Story Circle is practical because it focuses on character change over time. It can be used for both large adventure stories and smaller emotional stories. The key idea is that a character should not end the story exactly the same as they began.
6. Kishōtenketsu
Kishōtenketsu is a four-part structure rooted in East Asian storytelling traditions. Unlike many Western structures, it does not rely mainly on conflict. Instead, it creates meaning through development, contrast, and a shift in perspective.
Its four parts are:
Ki — Introduction
The basic situation, image, or idea is introduced.
Shō — Development
The idea is expanded. More details are added, but the story does not necessarily move toward conflict.
Ten — Twist / Turn
A new perspective, contrast, or unexpected element appears. This changes how the audience understands the earlier parts.
Ketsu — Conclusion
The different parts are brought together. The meaning becomes clear through connection rather than confrontation.
Kishōtenketsu is especially useful for quiet, poetic, slice-of-life, or observational stories. Its main strength is that it shows how a story can be meaningful without needing a major battle, villain, or direct conflict.
7. Comparison of the Structures
Different structures serve different storytelling goals.
The Three-Act Structure is driven by conflict and resolution.
The Hero’s Journey is driven by adventure and personal growth.
The Five-Act Structure is driven by rising and falling dramatic tension.
The Story Circle is driven by emotional change.
Kishōtenketsu is driven by contrast, perspective, and subtle transformation.
These models should not be treated as fixed rules. They are tools that help writers, filmmakers, and animators organize ideas. The best structure depends on the kind of story being told and the emotional experience the creator wants to give the audience.
Conclusion
Story structure helps transform events into meaningful narrative experiences. A clear structure can guide the audience through conflict, discovery, change, or reflection. Some structures emphasize tension and resolution, while others focus on transformation or a shift in perspective. For creators, understanding different story structures makes it easier to control pacing, shape character arcs, and build stronger emotional impact.