The oldest technology, and the one least improved on.
Cervantes's 1605 novel follows Don Quixote, a minor Spanish nobleman driven mad by chivalric romances who sets out as a knight-errant with his servant Sancho. The brief covers the opening madness and the machinery of the book, what makes it a satire of narrative itself, and which parts can be skipped.
Tolkien's 1937 prequel to The Lord of the Rings, in three hundred pages of a simpler world. The brief follows Bilbo from his armchair to the dragon's hoard, then explains why LOTR fans often miss what makes this book work on its own.
Lemonade is a 2016 visual album and hour-long musical film, released simultaneously on HBO and Tidal. It is a song cycle structured around emotional stages derived from the Kübler-Ross model, conceived and executed as a unified work of sound and image.
Ogdens’ Nut Gone Flake is a 1968 Small Faces concept album — side one: six eclectic songs; side two: a narrated fairy tale about Happiness Stan. Recorded at Olympic and Trident Studios. Engineered by Glyn Johns. Features wah-wah Hammond organ, strings conducted by David McCallum Senior, and Stanley Unwin’s ‘Unwinese’ narration — developed from the band’s private language observed during sessions. Conceived on the Thames after a disastrous 1968 tour. Packaged in a circular tin mimicking an antique tobacco tin. Reached No. 1 in the UK for six weeks. Performed live in full only once — on BBC’s Colour Me Pop. A studio-bound zenith, both cohesive and unrepeatable.
Gunfighter Ballads and Trail Songs is a tightly constructed Western concept album recorded live in one session. Its sound is lean and declarative—vocals, guitars, bass, drums, fiddle, and close harmonies—with no documented effects, no spatial processing, and no instrumental indulgence. It establishes Robbins as a master of narrative economy, but offers no psychological depth, sonic variation, or formal risk. It rewards listeners who prioritise story logic over atmosphere.
Ironman is Ghostface Killah’s 1996 solo debut, produced almost entirely by RZA using dark keyboard tones and early-1970s soul samples drawn from blaxploitation films. A flood destroyed the original studio, forcing vocals to be recorded elsewhere with different equipment — altering Ghostface’s voice and deepening his vulnerability. The album features substantial storytelling rap and Ghostface’s signature uptempo, stream-of-consciousness rhyming. Though billed as a solo record, Ghostface appears alone on only four tracks; Raekwon and Cappadonna feature heavily. Two songs originated in film soundtracks. Critics received it well.
Jacques Rivette’s 1974 film follows two women who enter a looping, magical-realist narrative housed in a Paris mansion, gradually learning its rhythms and rewriting its ending. Built on repetition, collaboration and patient observation, it models fiction as a space to inhabit rather than interpret.
Mysterious Object at Noon (2000) is Apichatpong Weerasethakul’s debut feature: an unscripted, 16mm Thai documentary that travels the country using the exquisite corpse game. Strangers contribute lines to a shared story; actors then enact fragments of it. Shot by Sayombhu Mukdeeprom and edited by Apichatpong and Mingmongkol Sonakul, it privileges listening, texture and drift over narrative or exposition.
Terry Gilliam’s 1988 fantasy follows the ageing Baron Munchausen as he reassembles his legendary crew to rescue a besieged city—not with weapons, but with stories. Shot on practical sets with elaborate costumes and in-camera effects, it privileges tactile invention over narrative efficiency. Though its box office failure and production turmoil are well documented, the film endures as a singular argument for imagination as an act of defiance against literalism, bureaucracy and time itself.
Akira Kurosawa’s 1958 adventure follows two self-interested peasants who agree to smuggle a mysterious man and woman across hostile territory for gold, unaware the man is a famed general and the woman a deposed princess. Shot in Tohoscope widescreen, with Ichio Yamazaki’s naturalistic cinematography and Masaru Sato’s taut score, the film grounds epic stakes in petty motives, using the peasants’ limited perspective to explore class, loyalty and survival. Toshirō Mifune delivers restrained authority as General Rokurōta; Minoru Chiaki and Kamatari Fujiwara embody craven humanity as Tahei and Matashichi. Though structurally inventive and morally precise, the princess’s interiority remains deliberately obscured — a choice that sharpens some tensions and blunts others.
Rob Reiner’s 1987 adaptation of William Goldman’s novel frames a swashbuckling romance as a grandfather’s bedtime story. With precise performances, Adrian Biddle’s understated cinematography, and Mark Knopfler’s acoustic score, it balances earnest adventure and gentle parody — landing its themes of fidelity and craft without irony or condescension.
Wes Anderson’s 2001 black comedy-drama follows the Tenenbaum siblings — child prodigies now adrift — as their estranged father Royal (Gene Hackman) returns with a fabricated illness. Shot across 250 stylised sets in and around New York, it uses symmetrical framing, deliberate pacing, and a baroque score to explore stasis, inherited grief, and the quiet persistence of love beneath formal distance.
Tim Burton’s 2003 fantasy drama Big Fish adapts Daniel Wallace’s novel into a tripartite portrait of a father’s tall tales and his son’s reluctant reckoning with them. Shot in Alabama with Philippe Rousselot’s sun-bleached cinematography and scored by Danny Elfman, it balances Southern Gothic texture with mythic whimsy. Though its tonal shifts and narrative looseness divided critics, its central theme — that stories are how we hold people close after they’re gone — remains its quiet, steady pulse.
Todd Solondz’s 2001 film Storytelling divides itself into two unrelated segments — 'Fiction' and 'Non-Fiction' — each dissecting how narrative power operates in education, documentary, and family life. With restrained performances, underlit interiors, and a refusal to resolve its ethical dilemmas, it sustains a low, persistent discomfort. Its value lies in structural rigour and thematic consistency, not emotional payoff.
Broken Sword: The Shadow of the Templars is a 1996 point-and-click adventure game developed by Revolution Software. It stars George Stobbart and Nicole Collard in a globe-trotting investigation sparked by a bombing in Paris. Players solve puzzles using a point-and-click interface, hand-drawn environments, and dialogue-driven exposition. Death is possible — a rarity for its time — and saves are manual. It launched on PC and PlayStation in 1996, with a Game Boy Advance port in 2002.
Dragon's Lair (1983) is an arcade-exclusive interactive film where players respond to quick time events during hand-animated cutscenes. It runs on LaserDisc hardware. Players control Dirk the Daring’s reflexes — not his movement or decisions. Narrative progression is predetermined. Levels are grouped into three cycles, selected dynamically. Dying moves the player forward. Failed levels must be repeated before reaching the Dragon's Lair. Some scenes repeat; some are mirrored, reversing required inputs. Operators could configure the cabinet to demand more coins mid-session. Cinematronics organised production in partnership with Advanced Microcomputer Systems and Don Bluth Productions. Starcom was formed to control rights. It was the first major LaserDisc video game.
Full Throttle is a 1995 LucasArts graphic adventure game built on SCUMM with INSANE for FMV, played from a third-person perspective using point-and-click navigation.
King's Quest I is a foundational graphic adventure that trades player freedom for architectural control — every screen is a stage, every command a test of precise positioning, and every death a reminder that the machine holds all the cards.
Monkey Island 2: LeChuck's Revenge is a 1991 LucasArts SCUMM-based point-and-click adventure game that introduced iMUSE, used Puzzle Dependency Charts, and offered dual puzzle-difficulty modes.
The Witcher 3: Wild Hunt is an open-world RPG built around authored consequence, not systemic simulation. Its combat demands precision, stamina, and resource management. Its world feels lived-in because of writing—not physics. It was made at great cost, with no DRM, and shipped with free DLC. It remains worth playing if you want narrative weight over procedural noise.
Uncharted 2: Among Thieves is a third-person action-adventure platformer for PlayStation 3. It is developed by Naughty Dog. It continues the studio’s first approach to realistic worlds and characters. It constrains player action through fixed weapon loadouts, scarce grenades, and environment-locked traversal. It ties puzzle-solving to journal entries. It runs on a proprietary engine built for the PlayStation 3’s Cell architecture.
Half-Life replaces cutscenes with continuous control, levels with chapters, and abstract challenges with environmental logic. It asks players to observe, adapt, and inhabit a world—not just shoot through it.
