avisualspanking said: I'm sure others have asked this, but can you post examples of more complex kishōtenketsu narratives? Maybe you have and I've just missed them.
Many who responded to the article suggested the work of Ryūnosuke Akutagawa—particularly his story Rashōmon (which is distinct from the Kurosawa film of the same name). We might also recommend Makoto Shinkai’s short film She and Her Cat, as well as most of the shorts that comprise Kunio Kato’s The Diary of Tortov Roddle.
As a quick note, kishōtenketsu stories can and many times do feature some form of strife; it just isn’t written into the structure, and it usually isn’t the central arc of the story. For example, the third-act twist in She and Her Cat might viably be thought of as a kind of conflict. On the other hand, much of Tortov Roddle—the second vignette is a good example—clearly does not have any conflict. In both cases, the twist is the source of interest; and conflict, if any occurs, is a surface-level event. We hope that this is helpful.