During my research, I have had to apply a modified theory of Propp’s Morphology to The Stanley Parable from a narrative aspect. In my project, I had used the analysis framework of Brusentsev  and the modified function set from Bostan . You can read my analysis of Propp’s Functions relative to video games here.
After scouring the internet of wikis and forums, and playing the game countless times through, I have generated a graph of all pathways to major endings of The Stanley Parable which can be found below. Note that this contains only pathways that I considered to have full endings. So, for instance, the infinite elevator sequence is not included, as the game does not terminate following that path. Additionally, if you are not a researcher, or if you’re not familiar with this game, then this graph may not make much sense. If you are interested in my mapping of all endings and meaningful easter eggs, then please see my notes from my analysis.
The green circle at the top labelled “Start” is the beginning of the game where Stanley is in his office and the door opens for the first time. After that, traverse along any given pathway to reach any ending.
The diamond shapes represent choices. If your pathway has a diamond, then the player is given two or more choices. The triangles represent each choice. Blue circles are vague but important player actions (such as having to climb out of the window on the Out of Map ending). Purple circles are the (extended) Proppian Functions along with their ID. If you are not familiar with Propp’s Morphology, these will not make much sense and can be ignored. The ‘vanilla path’ of the game is dotted.
 Bostan, B., & Turan, O. (2017). Deconstructing game stories with propp’s morphology. System, 17, 18.
 Brusentsev, A., Hitchens, M., & Richards, D. (2012, July). An investigation of Vladimir Propp’s 31 functions and 8 broad character types and how they apply to the analysis of video games. In Proceedings of The 8th Australasian Conference on Interactive Entertainment: Playing the System (p. 2). ACM.