You sensed it right from the start:  The familiar plot machinations of The Hunger Games series weren’t there to comfort us (in their perversely dystopian way) in the latest theatrical entry, Mockingjay, Part 1.  The world and characters were the same, sure, yet we found ourselves, like the protagonist herself, immediately disoriented in this third go-round; nothing about this adventure, for us or for her, could be deemed business as usual.

So, what changed?

I’ve written a great deal about how indispensable I find Blake Snyder’s ten story models, but have offered little thus far in the way of illustration.  The Hunger Games series, a powerhouse big-studio franchise if ever there was one, provides an object lesson in two distinct types of Save the Cat! genres.

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