Analyzing Humor: A GTVH Perspective on Paul Snyder's

Stand-Up Comedy

Louis Daniel Pakpahan, Yohana Aulia Batubara, Nurmeilida

Universitas Negeri Medan

Abstract
This research article investigates the comedic techniques employed by Paul
Snyder in his stand-up performance, "Stand Up Comedy Only Introverts Will
Understand," through the analytical lens of Salvatore Attardo's General Theory
of Verbal Humor (GTVH). Focusing on the interplay between humor and
introversion, the study defines key variables including introversion, stand-up
comedy, verbal humor, and the six Knowledge Resources (KRs) of GTVH. It
addresses two primary research questions: how Snyder utilizes GTVH's KRs to
create humor relatable to introverted experiences, and what predominant
humor types and strategies he employs. Employing a qualitative content
analysis of the performance transcript, the findings reveal Snyder's extensive
use of self-deprecating humor and social satire, frequently targeting himself
and the introverted community. His comedic construction relies heavily on
hyperbole, fallacious reasoning, and analogy, delivered through anecdotal
narratives and observational humor. This approach effectively builds rapport
and validates shared introverted experiences. The study concludes by affirming
GTVH's utility in analyzing niche comedic performances and highlights the
power of personality-driven humor in fostering authenticity and audience
connection, while also discussing the study's limitations and avenues for future
research.

Keywords: Introversion, Stand-up Comedy, Verbal Humor, General Theory of

Verbal Humor (GTVH), Humor Analysis, Paul Snyder

I. Introduction
Humor is an integral component of human life, serving a multitude of social and
psychological functions, including the alleviation of stress and the facilitation of
social criticism. Its manifestation spans a broad spectrum, from spontaneous
everyday conversations to meticulously structured performances such as
stand-up comedy. Stand-up comedy, recognized as a performing art, directly
engages audiences through verbal humor, necessitating a high degree of
intellectual acuity from comedians in crafting effective setups and punchlines.
This genre typically involves a speaker delivering a monologue, thereby
establishing a unique dynamic with the audience.

The video "Stand Up Comedy Only Introverts Will Understand" by Paul Snyder
presents a compelling case study due to its explicit focus on a specific
personality trait: introversion. Introversion, characterized by a preference for
less stimulating environments and a primary focus on internal experiences,
profoundly influences an individual's social interactions and creative processes.
The title itself, "Only Introverts Will Understand," immediately signals a distinct
thematic niche and a targeted audience. This approach suggests a deliberate
strategy by the comedian to build a deep rapport with a particular segment of
the audience. The humor is designed to resonate with shared experiences and
internal perspectives common to introverts, thereby fostering an in-group
dynamic. This dynamic, as observed in studies of humor, is a common social
purpose, cultivating solidarity and a shared identity among participants. The
deliberate targeting of this niche audience suggests a strategic intent by the
comedian to achieve higher engagement and relatability within that specific
demographic, even if the comedic delivery is subtle or self-deprecating.

Key Variables
To comprehensively analyze Paul Snyder's performance, it is essential to define
the core variables underpinning this study:
●​ Introversion: This personality trait describes individuals who tend to be
reserved, derive energy from solitude, and typically prefer environments
with less external stimulation. In the context of comedy, introverts often
demonstrate a remarkable aptitude for writing highly personal material,
possess elevated levels of empathy, and are inherently reflective. These
qualities enable them to make nuanced observations and build rapport
through point-of-view humor. For some, engaging in comedy may also serve
as a means of social validation.
●​ Stand-up Comedy: As a distinct genre of verbal performance, stand-up
comedy involves a comedian directly addressing an audience, typically
through a monologue. Its structure fundamentally relies on the interplay of
a "setup" that establishes context and a "punchline" that delivers the
humorous twist, designed to elicit laughter.
●​ Verbal Humor: This category of humor is conveyed predominantly through
linguistic means, encompassing a range of rhetorical techniques such as
sarcasm, mockery, irony, and puns.1 The interpretation of verbal humor
often hinges on the audience's understanding that established cooperative
 principles of communication are being deliberately, yet playfully, violated.
●​ General Theory of Verbal Humor (GTVH): Developed by Salvatore Attardo
and Victor Raskin, GTVH stands as a comprehensive linguistic theory for
analyzing verbal humor. It identifies six interdependent Knowledge
Resources (KRs) that contribute to the creation and comprehension of
humor. GTVH posits that humor fundamentally arises from the activation
and subsequent opposition of two distinct semantic "scripts".

Research Questions
This study aims to address the following research questions:
●​ RQ1: How does Paul Snyder utilize the Knowledge Resources (KRs) of the
General Theory of Verbal Humor (GTVH) to construct humor specifically
relatable to introverted experiences in his "Stand Up Comedy Only
Introverts Will Understand" performance?
●​ RQ2: What are the predominant types of humor and comedic strategies
employed by Paul Snyder, and how do these align with or challenge
common perceptions of introverted communication styles?

II. Literature Review

The General Theory of Verbal Humor (GTVH), an expansion and refinement of
Raskin's (1985) Semantic Script Theory of Humor (SSTH), offers a robust
framework for the analysis of any humorous text.1 This theory posits that humor
emerges from activating mental scripts and their subsequent opposition. This
conflict is resolved through specific logical mechanisms within a given situation,
targeting a particular entity, employing a chosen narrative strategy, and
utilizing precise linguistic tools.

The GTVH is structured around six Knowledge Resources (KRs), which are
considered to be hierarchically ordered and integral to the processing of
humorous texts :
●​ Script Opposition (SO): This is the foundational element of GTVH. It
necessitates that a text be compatible, either fully or in part, with two
distinct scripts that are in some form of opposition and overlap
semantically. For instance, the incongruity created by the idea of using a
"blade" instead of a "knife" in a formal "table manner" setting exemplifies
this opposition.
●​ Logical Mechanism (LM): This KR refers to the specific "joke techniques"
employed to activate the script oppositions and facilitate the resolution of
 the inherent incongruity. Examples of LMs include juxtaposition, parallelism,
analogy, figure-ground reversal, as well as false analogy, fallacious
reasoning, absurd neologism/interpretation, and word repetition.
●​ Situation (SI): The situation encompasses all the contextual elements of a
joke, including the objects, participants, places, and activities involved. It
provides the overarching macro-script or background information
necessary for understanding the humorous event.
●​ Target (TA): The target is identified as the "butt" or victim of the joke. This
can be an individual, a group, an institution, or even the speaker
themselves.
●​ Narrative Strategy (NS): This KR pertains to the genre or structural format
used in presenting the joke. Common narrative strategies include riddles,
expository texts, dialogues, simple narratives, or even the incorporation of
musical elements.
●​ Language (LA): Language refers to the precise wording of the text. It
encompasses the specific lexical and syntactic choices, as well as rhetorical
figures, that are responsible for the verbalization of the humor.

While Attardo (1994) initially proposed a hierarchical order for these KRs, more
contemporary research, particularly in contexts like satirical news, which shares
performance characteristics with stand-up comedy, suggests a more dynamic
interplay.1 In such performance-based humor, the "Situation" KR might
sometimes precede "Script-Opposition" in prominence. This indicates that the
real-world context or the chosen topic often serves as the primary driver for the
humorous setup, rather than a preconceived abstract script opposition. This
nuanced application of GTVH allows for a more flexible and accurate analysis of
performance-based humor, acknowledging that the comedian's selection of a
topic or scenario can be the initial and most significant determinant in the
subsequent construction of humor.

Humor in Stand-up Comedy and Related Communication Contexts: A

Critical Review
The application of humor theories, particularly GTVH, across various
communication contexts offers valuable insights into its mechanisms and
functions.

Moalla and Amor (2020) investigated the co-construction of humor in

computer-mediated teacher-student communication using GTVH. Their work
highlighted the challenges in humor recognition within Computer-Mediated
Communication (CMC) due to the absence of non-verbal cues and the
often-disrupted nature of turn-taking. While this study demonstrates GTVH's
applicability to conversational and interactive humor, its focus on CMC
contrasts with the live nature of stand-up comedy, where non-verbal cues (such
as the comedian's delivery and audience reactions) are crucial. The primary
focus of the current study is on a comedian's monologue rather than
co-constructed humor, further distinguishing it from Moalla and Amor's
research.

Damanik et al. (2021) applied GTVH to analyze conversational humor in YouTube

content, specifically "Kontrakan Rempong," examining how structural
characteristics relate to humorous functions within a suburban community
context. Their research, which integrated Fairclough's Critical Discourse Analysis
(CDA) alongside GTVH, is highly relevant due to its direct application of GTVH to
YouTube-based conversational humor, similar to the video under investigation.
It also illustrates how humor can reveal societal behaviors and stereotypes,
such as those related to being chatty, materialistic, or prone to gossip. However,
the current study differentiates itself by focusing exclusively on GTVH for a
deeper linguistic analysis of humor mechanisms, without the broader
socio-political critique inherent in CDA. Furthermore, the context of the present
research is a formal stand-up performance, as opposed to the informal
community conversations analyzed by Damanik et al.

Mir and Laskurain-Ibarluzea (2022) conducted a comparative study of Spanish

and American English verbal humor in late-night talk show monologues, utilizing
GTVH. Their analysis categorized humor by narrative structure, thematic
sequence, target, humor types (teasing, mocking, amusing, self-denigratory,
political/social satire), topics, and linguistic resources. This research is highly
pertinent given its focus on GTVH application to monologues, which closely
parallels stand-up comedy. Its detailed categorization of humor types and
linguistic resources provides a robust analytical framework for examining Paul
Snyder's performance. The distinguishing factor, however, is that Mir and
Laskurain-Ibarluzea's study is cross-cultural, whereas the current research is a
single-performance case study with a unique emphasis on "introverted" humor.

Droog and Burgers (2023) integrated GTVH with their Humoristic Metaphors in
Satirical News (HMSN) typology, operationalizing KRs as "discursive steps" to
understand the humoristic, informative, and evaluative functions of
metaphorical humor. This work reinforces the applicability and detailed
operationalization of GTVH's KRs, and it discusses how KRs can constrain
options and contribute to communicative functions, offering a deeper analytical
perspective. While their study specifically focuses on metaphorical humor in
satirical news, its insights into the interplay of KRs are valuable for a broader
analysis of verbal humor in performance.

Mulyadi et al. (2021) applied GTVH to the discourse of Indonesian stand-up

comedian Dodit Mulyanto, detailing the use of various Logical Mechanisms
(LMs) such as false analogy, fallacious reasoning, absurd
neologism/interpretation, and word repetition, as well as Narrative Strategies
(NS) including simple narrative, dialogue, and music play. A crucial observation
from their study is the comedian's predominant self-targeting. This finding holds
particular relevance for Paul Snyder's "introvert" persona. The observation that
Dodit Mulyanto primarily targets himself to avoid insulting others and "breaking
someone's face" aligns with the characteristics of introverts, who are often
described as empathetic and reflective, and may prefer to avoid confrontation.
Self-deprecating humor is a well-documented tool for building rapport and
avoiding arrogance. For an introverted comedian, this is not merely a stylistic
choice but a strategic adaptation to their personality, enabling them to engage
an audience safely and authentically while discussing relatable vulnerabilities.
The introverted nature of the comedian can influence a preference for
self-targeting and self-deprecating humor, which in turn facilitates
rapport-building with the audience and cultivates a sense of shared
understanding, especially with an audience that identifies with introversion. This
represents a powerful mechanism for authenticity and relatability in comedy.

III. Methodology
Data Source and Collection
The primary data for this study is derived from the transcript of Paul Snyder's
stand-up comedy performance, titled "Stand Up Comedy Only Introverts Will
Understand," which is accessible via YouTube (https://youtu.be/8DNQ8DYgCJE).
The video's title explicitly frames the content around the theme of introversion,
making it a direct and highly relevant source for addressing the research
questions. The complete transcript of the performance has been provided,
serving as the raw linguistic data for analysis. This eliminates the need for
manual transcription, thereby ensuring consistency and accuracy of the textual
data. The nature of the video as a live stand-up performance offers a rich
context for the manifestation of verbal humor, including implicit indications of
audience reactions such as laughter and applause, which are noted within the
transcript (e.g., "[Audience laugh]").

Analytical Framework: Application of General Theory of Verbal Humor

(GTVH)
The analysis will employ a qualitative, content-based approach, systematically
applying Attardo's GTVH to the transcribed performance. Each humorous
episode will be identified and meticulously dissected into its constituent
Knowledge Resources (KRs).
●​ Identification of Humorous Episodes: The transcript will be segmented
into distinct humorous "episodes" or "jokes." These segments are primarily
identified by the presence of a "punchline" and/or implicit cues indicating
audience laughter.
●​ Application of KRs: For each identified humorous episode, the following
GTVH parameters will be rigorously analyzed:
○​ Script Opposition (SO): This involves identifying the two opposing
semantic "scripts" that the joke text activates and explaining how their
incongruity generates humor.
○​ Logical Mechanism (LM): This step determines the specific cognitive or
rhetorical technique employed to connect and resolve the opposing
scripts. Examples include exaggeration, false analogy, fallacious
reasoning, wordplay, and absurdity.
○​ Situation (SI): This describes the background, context, or scenario in
which the joke takes place, including all relevant participants and
activities.
○​ Target (TA): This identifies who or what serves as the "butt" of the joke.
Particular attention will be given to instances of self-targeting, the
introverted community as a group, or societal norms viewed from an
introverted perspective.
○​ Narrative Strategy (NS): This characterizes the structural format of the
joke, such as a simple narrative, anecdote, observational humor, or
elements of dialogue.
○​ Language (LA): This involves analyzing the specific lexical and syntactic
choices, rhetorical figures, and precise wording that contribute to the
humor.

By systematically deconstructing each joke into its GTVH components, the

analysis moves beyond a mere identification of humor to achieve a profound
understanding of its underlying mechanisms. This systematic approach reveals
the cognitive and linguistic processes at play, allowing for the identification of
recurring patterns across multiple jokes. This methodological rigor ensures that
the findings are not based on subjective interpretations but are grounded in a
well-established linguistic theory of humor, thereby enhancing the academic
credibility and replicability of the study. It also enables comparative analysis
with other GTVH studies on stand-up comedy and monologues.

IV. Findings
This section presents a detailed GTVH analysis of key humorous episodes from
Paul Snyder's performance, demonstrating how the comedian constructs humor
around themes and experiences highly relatable to introverts, utilizing specific
Knowledge Resources.

GTVH Analysis of Humorous Episodes: Paul Snyder's Introverted Comedy

1. Initial Setup: The "Solitary Clap" and Audience Rapport
●​ Joke Text: "Now, if you don't mind, also give me a round of applause
because I am a huge introvert and I left the house for this today. I did my
Wordle and then I came on in. The introverts, they are my people.
Sometimes I'll even ask by round of applause, you know, where the other
introverts are in the room. That got it. Nailed it. Just a one solitary clap. That
was it. And they are probably heading home right now. I overdid it. That was
exhausting. I shouldn't have done that. I know my people aren't going to
applaud. I know this. They might give me like half a head nod and then
we're going to look right back at our shoes where it's safe. That is what my
people do."
●​ Script Opposition (SO): The humor arises from the opposition between
Expected Audience Engagement (Extroverted) and Actual Introverted
Audience Reaction (Reserved). The incongruity lies in the conventional
expectation of a boisterous comedy audience contrasted with the subdued,
yet relatable, response from an introverted crowd.
●​ Logical Mechanism (LM): This joke employs Exaggeration of introverted
behavior (e.g., "overdid it," "exhausting" from merely leaving the house, the
immediate desire to be "heading home right now") and Observational
Humor. The humor is amplified by the accurate portrayal of typical
introverted non-verbal cues, such as "half a head nod" and looking at shoes.
●​ Situation (SI): The setting is a stand-up comedy performance where the
comedian directly addresses his self-identified introverted audience.
●​ Target (TA): The comedian himself (through self-deprecating humor) and
the introverted audience (through gentle teasing and in-group humor).
●​ Narrative Strategy (NS): This is a simple narrative or anecdote, effectively
setting the stage for the remainder of the performance by immediately
establishing a shared understanding with the audience.
●​ Language (LA): The use of direct address ("you guys," "my people"), a
relatable cultural reference ("Wordle"), and evocative language ("solitary
clap," "safe") enhances the comedic effect.

This opening segment functions as meta-humor, as it jokes about the very act of
the performance and the audience's expected reaction, all framed through the
lens of introversion. By acknowledging the "solitary clap" and exaggerating the
effort involved in leaving the house, Snyder immediately establishes a strong
sense of in-group solidarity with his introverted audience. This is a deliberate
strategy to build rapport by validating shared experiences, a technique known
to be effective for introverted comedians.2 The humor extends beyond the
content to encompass the shared understanding between the performer and his
niche audience. This approach demonstrates how a comedian can strategically
use self-identification and audience-targeting to create a unique comedic space
where the humor is deeply rooted in shared psychological traits, fostering a
strong sense of connection and understanding, even if it is based on a shared
reluctance for overt social engagement.

2. The "Golden Age" of COVID and Social Aversion

●​ Joke Text: "But here's just something that I feel like I'd like to share with
you guys that most introverts can agree with, and that is that we miss
COVID, you guys. That was the golden age. That was our Normandy, you
guys. We stormed that beach and then we went home for three years. And
we would do it again. Absolutely, we would."
●​ Script Opposition (SO): The core opposition is between the Societal View of
COVID (Negative/Disruption) and the Introvert's View of COVID
(Positive/Golden Age). The humor stems from this contrasting perception of
a global pandemic based on personality type.
●​ Logical Mechanism (LM): The joke utilizes Analogy ("golden age,"
"Normandy") to frame a universally negative event in a positive light for
introverts. Hyperbole is also employed, as seen in the exaggeration of
"storming the beach" only to "go home for three years," amplifying the
introverted preference for isolation.
●​ Situation (SI): The shared global experience of the COVID-19 pandemic
and the associated lockdowns.
●​ Target (TA): Society's general perception of COVID (implicitly extroverts)
 and introverts (celebrating their preference for solitude).
●​ Narrative Strategy (NS): This is observational humor and social
commentary, presented as a shared "secret" or understanding among
introverts.
●​ Language (LA): The use of strong, positive historical metaphors ("golden
age," "Normandy") applied to a period of forced isolation creates a comedic
effect.

This joke functions by inverting a universally perceived negative experience (the

COVID lockdown) into a profoundly positive one, specifically for introverts. This
inversion creates humor by highlighting the perceived absurdity of an
introverted perspective within a predominantly extroverted societal framework.
It serves as a form of social satire, which critiques societal norms by presenting
an alternative, personality-driven reality.1 The exaggeration, particularly
"stormed that beach and then we went home for three years," significantly
amplifies the comedic impact. This type of humor not only entertains but also
subtly normalizes and validates introverted experiences, potentially challenging
the societal bias towards extroversion by using a shared global event to
underscore the impact of a specific personality trait on daily life.

3. Confrontation Avoidance and the "Hostage Situation" Marriage

●​ Joke Text: "I think as an introvert, I'm pretty comfortable with most things
about it, but there's one thing I do not like, and that is confrontation. I avoid
confrontation at all costs. You know, if there is somebody mad at me or who
does not like me at work, I would rather go find a new job than ever have a
conversation about it... I was dating a girl in college, and I didn't think
things were going well... And I sat her down, and I told her that. And she
looked back at me and said, nah, I don't think so. I'm going to be honest. I
did not know that was an option... And earlier this year, we celebrated our
25th wedding anniversary. I don't know why you're applauding. That is a cry
for help. I have been in a hostage situation that I cannot get out of. I could
not be blinking any faster. I need help."
●​ Script Opposition (SO): The humor stems from the opposition between the
Expected Resolution of Conflict (Direct Communication) and the Introvert's
Avoidance of Conflict (Passive Endurance). The incongruity lies in the
conventional approach to resolving conflict versus the extreme,
passive-aggressive avoidance demonstrated.
●​ Logical Mechanism (LM): This joke heavily relies on Hyperbole (e.g.,
preferring to find a new job rather than confront, describing a 25-year
 marriage as a "hostage situation") and Fallacious Reasoning (the absurd
premise of not knowing "no" was an option in a breakup, which
consequently led to marriage).1 The humor is derived from the exaggerated
lengths an introvert might go to avoid direct confrontation.
●​ Situation (SI): Personal anecdotes about work and relationships, all framed
by the comedian's self-identified introverted personality.
●​ Target (TA): The comedian himself (through self-deprecating humor) and
introverts in general (highlighting a shared, relatable struggle).
●​ Narrative Strategy (NS): An anecdotal narrative, building from a general
statement about confrontation avoidance to a specific, exaggerated
personal story.
●​ Language (LA): The use of dramatic language ("hostage situation," "cry for
help," "blinking any faster") and rhetorical questions ("I don't know why
you're applauding") enhances the comedic effect.

This extended anecdote serves as a prime example of self-denigrating humor,

where the comedian playfully mocks his own perceived weaknesses, particularly
his inability to confront.1 The extreme exaggeration, such as the willingness to
seek a new job or the portrayal of a 25-year marriage as a "hostage situation,"
significantly amplifies the relatability for introverts who may recognize milder
forms of this avoidance behavior. The "hostage situation" metaphor is
particularly effective in transforming a potentially sensitive personal failure into
a humorous, shared experience, inviting the audience to laugh with him, rather
than at him. This approach aligns with the understanding that self-deprecating
humor can build character and foster commonality with the audience.5 This
strategy allows the comedian to discuss a sensitive personal topic in a
humorous and non-threatening manner, leveraging the shared understanding of
introverted challenges. It effectively transforms personal vulnerability into a
source of collective amusement and validation.

4. The "Not Smart Enough for Crime" and "Werther's Originals" Incident
●​ Joke Text: "Although in sixth grade, some friends dared me to steal a candy
bar with them from a gas station. And I went along with it. And I came
running out of that gas station clutching a package of Werther's Originals. I
am not smart enough to do crime, you guys. My friends came out with
Reese's Peanut Butter Cup and M&M's. And I went for the go-to candy of the
80 and over crowd. I don't know what my end game was. I don't know if I
was thinking of my Meemaw. I have no idea. I'm not smart enough for
crime."
●​ Script Opposition (SO): The humor arises from the opposition between
Conventional Criminal Behavior (Strategic/Profitable) and Introvert's
Criminal Ineptitude (Nonsensical/Unprofitable). The incongruity lies in the
expected outcome of a petty crime versus the utterly unstrategic, almost
innocent, choice made.
●​ Logical Mechanism (LM): This joke employs Absurd Interpretation
(stealing Werther's Originals, a candy typically associated with the elderly,
instead of popular, desirable options) and Self-Deprecation (the repeated
assertion, "I am not smart enough to do crime").1 The humor is derived from
the sheer ridiculousness of the choice, which highlights a perceived lack of
street smarts or a quirky, uncool nature.
●​ Situation (SI): A personal childhood anecdote about a dare to steal candy.
●​ Target (TA): The comedian himself (through self-deprecating humor) and,
implicitly, the "80 and over crowd" (through gentle observational humor).
●​ Narrative Strategy (NS): A personal anecdote, building a relatable
childhood scenario to an absurd punchline.
●​ Language (LA): The use of specific brand names ("Werther's Originals,"
"Reese's Peanut Butter Cup," "M&M's") enhances relatability and creates a
humorous contrast.

This joke utilizes absurdity to reinforce the comedian's introverted,

non-confrontational, and slightly awkward persona. The choice of Werther's
Originals is unexpected and undermines the "criminal" act, rendering it harmless
and endearing rather than threatening. This represents a safe form of humor
that avoids causing offense by making the comedian the sole target of the
joke's ineptitude.5 It also subtly plays into the perception of introverts as being
less attuned to "cool" social norms or more inclined towards comfort and
familiarity ("Meemaw"). This demonstrates how even seemingly unrelated
topics, such as petty crime, can be filtered through and reinforce a central
comedic persona, using incongruity to highlight personality traits in a
humorous, non-threatening manner.

5. "Murder, She Wrote" and the Netflix Algorithm

●​ Joke Text: "But I have always been fascinated by crime. And I think it's
because when I was young, my parents introduced me to a little show called
Murder, She Wrote... Cabot Cove had a population of 3,500 people. And
approximately one person a week was murdered. That show went on for 12
seasons. So 264 out of 3,500 people were murdered in Cabot Cove, Maine.
And I don't know why we don't talk about this more. Cabot Cove, Maine is
 the most dangerous city in all of America. And the kicker of it is the police
department did not solve a single one of those crimes... So that, I think,
started my fascination with crime. And then during COVID, I started
watching a lot of crime documentaries on Netflix... It got to the point I
started getting targeted ads on my phone from Lowe's and Home Depot...
Just asking if I need rope or duct tape... Google Maps... showed me five
different places where I could dispose of a body."
●​ Script Opposition (SO): The humor derives from two primary oppositions:
Cozy Mystery Show (Harmless Entertainment) vs. Actual Murder Rate
(Extreme Danger); and Netflix Algorithm (Personalized Entertainment) vs.
Netflix Algorithm (Suggesting Criminal Behavior).
●​ Logical Mechanism (LM): The joke employs Hyperbole (designating Cabot
Cove as the "most dangerous city in all of America" based on its fictional
murder rate) and Fallacious Reasoning (inferring criminal intent or
suggestions from a benign algorithm's targeted ads).1 The humor arises
from these absurd logical leaps and exaggerated implications.
●​ Situation (SI): This joke weaves together childhood TV viewing habits, the
COVID-19 pandemic (revisiting the "golden age" theme), and personal
online activity.
●​ Target (TA): The TV show "Murder, She Wrote" (through gentle mockery of
its premise), Netflix and Google algorithms, and the comedian himself
(through self-deprecating implications of criminal potential).
●​ Narrative Strategy (NS): An extended narrative or anecdote, beginning
with a childhood memory and progressively escalating to a modern,
exaggerated scenario.
●​ Language (LA): The use of specific show titles, brand names (Netflix,
Lowe's, Home Depot, Google Maps), and the juxtaposition of mundane
activities with sinister suggestions contributes to the humor.

This segment effectively highlights an introverted tendency: deep, solitary

immersion into niche interests, in this case, a fascination with crime. The humor
escalates through hyperbole and fallacious reasoning, transforming a seemingly
cozy mystery into a statistical nightmare and a personalized algorithm into an
absurd guide for criminal disposal. This is a classic example of how a seemingly
benign interest can be exaggerated to absurd, humorous conclusions, playing
on the idea of an introvert's internal world becoming disproportionately intense.
The connection to the COVID-19 pandemic, which Snyder previously referred to
as his "golden age," reinforces the theme of solitary activities. This
demonstrates how a comedian can interweave seemingly disparate topics by
filtering them through a consistent character persona, using escalating
absurdity to generate sustained laughter. It also subtly comments on the
pervasive nature of algorithms and how they can create unexpected, humorous,
and even disturbing "personalizations."

Table of GTVH Analysis of Humorous Episodes

The following table provides a systematic and concise summary of the GTVH
analysis for the key humorous episodes discussed, offering a clear overview of
the predominant Knowledge Resources employed by Paul Snyder. This
structured presentation facilitates the identification of recurring patterns in his
comedic style, such as his frequent use of self-deprecation, hyperbole, and
social satire from an introverted perspective.

Joke Script Logical Situation Target Narrativ Languag

Text Oppositi Mechanis (SI) (TA) e e (LA)
(Snippet) on (SO) m (LM) Strategy
(NS)

"Now, if Expected Exaggera Stand-up Comedia Simple Direct

you don't Audience tion, comedy n narrative address,
mind, Engagem Observati performa (self-depr /anecdot cultural
also give ent onal nce ecating), e reference
me a (Extrovert Humor Introvert ("Wordle"
round of ed) vs. ed ),
applause Actual audience evocative
because I Introvert (in-group) language
am a ed
huge Audience
introvert Reaction
and I left (Reserve
the house d)
for this
today...
Just a
one
solitary
clap...
They
might
give me
like half a
head nod
and then
we're
going to
look right
back at
our shoes
where it's
safe."

"But Societal Analogy, Global Society Observati Strong,

here's just View of Hyperbol COVID-19 (implicitly onal positive
somethin COVID e pandemic extrovert humor/so historical
g that I (Negative and s), cial metaphor
feel like /Disrupti lockdown Introvert comment s
I'd like to on) vs. s s ary
share Introvert' (celebrati
with you s View of ng
guys that COVID preferenc
most (Positive/ e)
introverts Golden
can Age)
agree
with, and
that is
that we
miss
COVID,
you guys.
That was
the
golden
age. That
was our
Normand
y, you
guys. We
stormed
that
beach
and then
we went
home for
three
years."

"I avoid Expected Hyperbol Personal Comedia Anecdota Dramatic

confronta Resolutio e, anecdote n l language,
tion at all n of Fallacious s (work, (self-depr narrative rhetorical
costs... I Conflict Reasonin relationsh ecating), questions
would (Direct g ips) Introvert
rather go Communi s (shared
find a cation) struggle)
new job vs.
than ever Introvert'
have a s
conversat Avoidanc
ion about e of
it... And Conflict
earlier (Passive
this year, Enduranc
we e)
celebrate
d our
25th
wedding
anniversa
ry. I don't
know why
you're
applaudin
g. That is
a cry for
help. I
have
been in a
hostage
situation
that I
cannot
get out
of."

"Although Conventi Absurd Childhoo Comedia Personal Specific

in sixth onal Interpret d n anecdote brand
grade, Criminal ation, anecdote (self-depr names,
some Behavior Self-Depr (dare to ecating), contrastiv
friends (Strategic ecation steal "80 and e
dared me /Profitabl candy) over language
to steal a e) vs. crowd"
candy Introvert' (observat
bar... I s Criminal ional)
came Ineptitud
running e
out of (Nonsensi
that gas cal/Unpr
station ofitable)
clutching
a
package
of
Werther's
Originals.
I am not
smart
enough
to do
crime,
you guys.
My
friends
came out
with
Reese's
Peanut
Butter
Cup and
M&M's."

"I have Cozy Hyperbol Childhoo "Murder, Extended Specific

always Mystery e, d TV, She narrative show
been Show Fallacious COVID-19 Wrote", /anecdot titles,
fascinate (Harmless Reasonin pandemic Netflix/G e brand
d by Entertain g , personal oogle names,
crime... ment) vs. online algorithm juxtaposit
Murder, Actual activity s, ion of
She Murder Comedia mundane
Wrote... Rate n /sinister
Cabot (Extreme (self-depr
Cove had Danger); ecating)
a Netflix
populatio Algorithm
n of 3,500 (Personali
people. zed
And Entertain
approxim ment) vs.
ately one Netflix
person a Algorithm
week was (Suggesti
murdered ng
 ... Netflix... Criminal
It got to Behavior)
the point
I started
getting
targeted
ads on
my phone
from
Lowe's
and
Home
Depot...
Just
asking if
I need
rope or
duct
tape...
Google
Maps...
showed
me five
different
places
where I
could
dispose
of a
body."

V. Conclusion
Summary of Findings
The comprehensive analysis of Paul Snyder's "Stand Up Comedy Only Introverts
Will Understand" performance, conducted through the lens of the General
Theory of Verbal Humor (GTVH), reveals a sophisticated and deliberate
construction of humor deeply rooted in the introverted experience. Snyder
predominantly employs self-deprecating humor and social satire. His comedic
material frequently targets his own perceived weaknesses, such as his aversion
to confrontation, social awkwardness, and even a humorous self-assessment of
criminal ineptitude. Concurrently, he skillfully contrasts introverted preferences
with prevailing societal norms, exemplified by his humorous lament about
"missing" COVID-19 lockdowns.

The primary Logical Mechanisms identified in his performance include

pervasive hyperbole and fallacious reasoning. These techniques serve to
amplify the inherent incongruity of introverted behaviors when viewed through
an exaggerated, yet highly relatable, comedic lens. Analogy is also a recurring
device, used to reframe common experiences from a distinctly introverted
perspective, thereby fostering a shared understanding with the audience. The
Target of Snyder's humor is predominantly the comedian himself, followed by
introverts as a collective group. This self-targeting strategy aligns with
observations from other stand-up comedy analyses 1 and proves particularly
effective for introverted comedians seeking to build rapport without resorting
to confrontational humor.2 His Narrative Strategy largely consists of anecdotal
narratives and observational humor, drawing extensively from personal
experiences and common scenarios encountered by introverts. The Language
employed is characterized by direct address, relatable cultural references, and
evocative phrasing, all contributing to the comedic effect and reinforcing the
sense of shared understanding with his audience.

VI. References
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