Childhood Heros

Who are your childhood heros? When Professor Kat presented us with this assignment, at first I was reluctant because people where calling off batman, cinderella and other fictional fairy tale characters.  Truth be told growing up I was a tomboy and was not big into the whole princesses and mystical characters so I was at a lose for who I was going to write about.  However, after reading Vogler's interpretation of what a 'hero' is (as just the protagonist of the story) ideas started popping in my head.  The first two where (1) my favorite book series growing up, Frog and Toad, and (2) my favorite TV show, Arthur.

Frog and Toad book series was always my favorite because I could easily relate to the character Toad and the friendship he had with Frog. The reason I enjoyed reading about their adventures together was because it reminded me of my friend with my best friend, Marissa and the adventures we went on growing up. Both characters were different, Frog the tall relaxed one whereas Toad was the short

 serious one.  These description resemble Marissa (Frog) and I (Toad) perfectly. Their friendship showed me the meaning of having a best friend, the person you can count on to always be there, even when times get tough and your friendship is tested.  Frog and Toad surpassed obstacles and in the end were stronger friends because of it.  This made me admire them and strive to have that type of friendship with someone. 

Another character I enjoyed watching growing up was D.W the annoying lovable sister of Arthur.  Since I was the youngest of three girls in my family I felt that I had that connection with D.W.  We were similar in the ways of always wanted the attention and doing anything to obtain it but differed in the level of annoyance we brought on to our older siblings (at least I hope). I learned from D.W how not to act toward my other sisters, because I saw the reaction from Arthur and wouldn't want the same kind coming from my sisters.  So I guess I can say D.W was a positive influence of my life as a child because I learned that it's not always about getting the attention as it is gaining the respect.

Book One: A Practical Guide

Vogler started off this section by first discussing Joseph Campbell's The Hero with a Thousand Faces. In Campbell's book, he displays ideas that present and future storytellers deem useful when constructing a book, play, or film. Hollywood has certainly caught on to the way Campbell portrays how a story is played out; as it follows the ancient patterns of myth where every hero (protagonist) in the story goes on a journey. All stories can be understood in terms of a Hero's Journey or the "monomyth" because it appeals to everyone since they are storied with "shared unconscious" and "universal concerns". Vogler then continues with his adaptation of Campbell's outline of a Hero's Journey, where he constructs the twelve stages of the Hero's Journey. His stages are (1) ordinary world, where the hero is shown in their familiar life; (2) the call to adventure, where the hero is given a problem, challenge, or adventure to tackle; (3) refusal of the call, this is where the hero expresses reluctance; (4) mentor, is the relationship between the hero and wise figure who motivates the hero to continue on the call to adventure; (5) crossing the first threshold, the hero agrees to take on the problems, challenge, or adventure; (6) tests, allies, and enemies, the hero begins to learn the rules of the Special World; (7) approach to the inmost cave, where the hero begins to plot out how he/she will defeat the villain; (8) the ordeal, hero faces possibility of death only to be born again; (9) reward, this is when the hero celebrates their ability to obtain what they were seeking; (10) the road back, this is where the hero must deal with the "dark forces" of the ordeal; (11) resurrection, is the second life-and-death moment for the hero; and finally (12) return with the elixir, where the hero reflects on the lesson he/she has learned from the Special World. Now these steps can be deleted, added on, swapped around and till have the same outcome because it's the values of the hero that hold importance.

The stages Vogler has presented, reshape the way audience view a Hero's Journey. These stages put in place give a new way to look at writing, reading, and viewing books, plays and films. Long gone are the days of viewing merely as having a beginning, middle, and end with a climax to hold the audiences attention. It is my belief that these twelve stages give the audience a deeper appreciation as to what the hero is going through during their journey and further more makes you look at your life and analyze it through these stages. Without reading this section I would have continue to view movies as separate genres but now I can make connections with thrillers and romantic comedies.

As stated in the previous paragraph, Vogler's outline can be used to analyze ones life and personal journey, however; there is a difference between real life and myths so be careful when taking this approach. Our class discussion we had on Friday about our childhood heroes ties into what Vogler was talking about in this first chapter because as children we viewed our 'heroes' as people we looked up to or a person we could relate too or even aspire to be one day. This is the same approach we take when reading or viewing a film or play as adults. We discover the character whose experiences resemble the closest to our own then imminently form a connection that last throughout the story.

Some Questions to Think About...

1. Why is the word "Special World" capitalized?

2. How are Vogler's and Campbell's outlines the same? How are they different?

3. If you were to construct your own outline of the Hero's Journey, what would you change, keep or modify?