Vogler and Company

Vogler, Christopher. “Crossing the First Threshold- Tests, Allies, Enemies.” The Writer's
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.

Summary

Vogler begins with the crossing of the first threshold in this section of the reading. This is the point when the hero willingly commits to his or her adventure and enters into the special world. This is a major plot point for the hero as he approaches the threshold. Either internal or external events, or a combination of the two, allow the hero to enter the second act, or the special world. They face decisions here and must make the choices to continue on their journey. At this point the hero encounters another of the archetypes, the threshold guardian. This is just another step in training the hero. Sometimes the threat of the guardian is just an illusion, other times they simply must be noted, and on rare occasions they may need to be overcome by the hero. Threshold guardians can go on to become allies or enemies from this stage. The actual crossing represents the border between the ordinary and the special world. These can be represented as physical barriers in many stories like gates or rivers. It should always be clear to the audience that a shift from act one to act two has been taken and this can be shown through music or visual contrasts. The hero uses his courage, or leap of faith, to make the change. Sometimes heroes have a rough landing. It can be exhausting or disorienting in this phase.
The tests, allies and enemies are important moments in act two for the hero. Testing is used to prepare the hero for the danger that lies ahead. These may be difficult to face but are not as serious as the later ordeal will be. Also during this stage of the journey, the hero makes both allies and enemies. Allies may include sidekicks which are characters that ride alongside the hero supporting the adventure. Comical sidekicks provide humor as well. Allies may sometimes cross the boundary between mentors and tricksters, too. In some stories, the hero forms a team of allies who come together during the adventure. Heroes also make enemies, these enemies could be archetypes like the shadow, trickster, or herald. One example of an enemy is the rival who is not as much out to kill the hero as he is to defeat him and compete. There are new rules in the special world that must be learned quickly in order to advance through these challenges. Watering holes are scenes where the hero enters a bar or saloon. In these places, like a hunter would do, the hero is staking out the adventure. Learning about his enemies and trying to find information and allies.

Reaction

As I’ve said many times, I think that Vogler has found a good way to classify and explain the typical hero’s journey including several exceptions and rules so that just about every story can fit the mold. I think that he did a good job of explaining the crossing of the first threshold as an important moment that we can relate to the shift between act one and act two of any story. It is also important to talk about the hero’s internal struggle at this point, making the decision to actually cross the threshold and overcome the guardian. My favorite part of this chapter was the very end when this stage was compared to a flight, a Disney metaphor. The preparation for take off is act one and the initial jump off of the ground is the threshold. It is the thrill of beginning an adventure, and we can all relate to that in some way or another. Tests, allies and enemies are also important because it gives the story some context otherwise we would watch or read about a hero who takes off, alone, without any interaction to do something without danger and without help; boring. The tests give suspense and danger, as well as help the hero to grow in order to eventually face the major ordeal of act three. Allies are great characters who often provide comedy or help to bring out another side of the hero for the audience to see and I think they are necessary for a good story. It is also someone to eventually compare the hero to. Enemies are, of course, important to show the danger and to challenge the hero. They serve the villain and encourage the hero to keep fighting on his or her adventure. The rival is definitely a common type of hero, different from a villain I think that the story could easily be seen from the other point of view in this case. I liked the idea of the watering hole but I’m not sure its entirely necessary to be a part of this stage in the journey.

Questions

Is the idea of the watering hole old fashioned? Does it still exist in films, aside from westerns? Is it necessary to accomplish what Vogler says it does?
Is one character archetype more important than the other, the enemy or ally?
Is there always a threshold guardian to guard the first crossing? Does it appear in other non-conventional forms?