Vogler, Christopher. “The Resurrection- Return with the Elixir.” The Writer's
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler begins discussing the hero’s resurrection, which is the climax of the story. Sometimes this can be shown by a hero’s change in personality which is created for the new world to incorporate the lessons learned along the journey. The hero can also be cleansed of the ordeal so that they can be peaceful in society again. Sometimes there are two climaxes one in the middle and one at the end. There is often a physical ordeal where the hero might face death one last time. The active hero is important too, sometimes allies come through, but it is best for the hero to pull through. Showdowns are the biggest confrontations with the highest stakes between the hero and the villain. Sometimes tragic heroes die at the end of the story. Choices are also a big part of the hero’s journey testing his or her values. The choice can be a romantic one as well. The climax can be quiet which is gentle emotion and that the tensions have been eased. Rolling climaxes may be a series of events that might be experienced on different levels. Catharsis is an emotional release often felt at the end of stories by the audience. It is best expressed through tears and laughter. The resurrection is also the hero’s last chance for change and there can be missteps here. Missteps can create drama. A false claimant may come forward and question the hero who often needs to return from the special world with proof. Heroes must often sacrifice something during the climax, too. At this point the hero shows what he or she has learned and how they have changed. The old self should be dead and the new self would not make the same mistakes.
The next step of the journey is the return with the elixir in which the hero brings something he or she has learned to share with others. There are two story forms: circular and open ended. The circular form is most common and most popular. Here the story comes back to the beginning, either returning home or repeating an initial image. This provides for comparison. Many stories like to end with weddings or some sort of happily ever after moment. The open ended story concludes with loose ends, it continues in the audience. Returns might also have surprises, without them the story could end flatly. At this stage rewards and punishments are handed out. Villains should earn their fate and heroes should get their reward, only if they have earned it. The elixir is the prize it can be a literal treasure or medicine or a figurative lesson that the hero should share so as not to be greedy and selfish. Love is a good example of an elixir. Sometimes the world is altered, not just the hero. There can be elixirs of responsibility or tragedy. Heroes can be sadder but wiser, learning from their mistakes, but there can also be sadder but not wiser heroes that do not seem to understand their mistakes and will not learn from the experience. Epilogues can also be used to tell about the characters in the future and tie up the ends. There are also several pitfalls of the return like unresolved subplots, too many endings, abrupt endings, or a lack of focus. Punctuation can be used to understand ways of ending stories, period, exclamation, question or ellipsis.
Reaction
Vogler makes several good points, bringing up ideas that had never occurred to me. These steps are important for the hero because they tie up the story and leave the audience with a sense of finality. This is when we see how the hero has changed and what they have learned to share with the rest of their world. We are emotionally invested at the time of the climax and interested to see if the hero defeats the villain. I think its interesting that he says all of the old hero must die, I’m not sure that is true because many heroes begin with several good qualities that they cannot and do not lose. I liked the observation that stories can be circular or open ended because they definitely fall into one of those two categories. I think the circular stories are more common and more satisfying because there is a distinct end, however open ended stories seem to be becoming more popular, almost a modern twist. They often lead to sequels. I wonder about Vogler’s idea that heroes sometimes receive awards that they did not earn. I have trouble thinking of many examples of this although it seems like a typical idea that there must be some. Not all villains receive the punishments they deserve, and sometimes heroes receive punishments that they do not seem to have earned. I think this idea is interesting and could be furthered.
Questions
Must all of the old self of the hero die before the new self can return?
What are some examples of heroes who have received rewards without earning
them?
Do you have a preference for circular or open ended story forms and why?
Sunday, November 2, 2008
Wednesday, October 29, 2008
The Bell Jar
Sylvia Plath's text, The Bell Jar, provided for an interesting story line. Esther is the hero of this story undergoing a journey through the asylum she is hoping to leave. While she resides here, Esther faces many tests and allies. First, she faces the test of losing her virginity to Irwin. In turn, she is forced to hide her blood stained towels from her friend Joan and must visit the emergency room for help. After she makes it through this first test, Esther comes to find out that her friend Joan has committed suicide. Esther must attend the funeral as one of Joan's best friends. Eventually, Esther survives her tests and overcomes the main ordeal of being "crazy". Her reward is being able to leave the asylum, which is implied in this text.
Tuesday, October 28, 2008
Vogler's Reward
Vogler, Christopher. “Reward- The Road Back.” The Writer's
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler beings to discuss the next step after the ordeal and that is the reward. The hero now has to deal with any consequences but also savors the pleasure of victory. There are several ways this can be shown. The first is through celebration. It is natural for heroes to celebrate the completion of the ordeal and recuperate. This joy can also be seen through campfires which also gives time for jokes and reminiscing. Love scenes also occur here when the hero has earned them. Sometimes the hero now takes possession of something he or she was searching for in the beginning. Another name for this might be seizing the sword; a treasure might even be stolen by the hero. Elixir theft is similar, sometimes the hero is required to steal it, and it can be the secret of life and death. Initiation may result as a reward from the ordeal as might new perceptions, self realization, or the ability to see through deception. A hero might also have an epiphany; a realization of divinity, sometimes surviving death might give this impression. There can also be distortions causing the hero to have an over inflated ego. The following step of the journey is the road back. The energy of the story can pick up again here as we move into the final act of the story. Motivation is one cause for this when the hero rededicates themselves to the adventure. Retaliation to finish off the villain may be another cause. Chase scenes can be an effective technique because audiences enjoy it. The magic flight is the whimsical transformation of objects during the chase. The chase may be between heroes and villains or between heroes and admirers. Sometimes the road back can deal with an escaped villain or other setbacks. In the end, the hero hopes to return to the ordinary world with his or her reward from the special world.
Response
I like the idea that the reward stage can occur with so many varieties, like generic celebration to campfires to love scenes. Although Vogler says heroes must earn the love, I think that some heroes are fortunate to have this before the ordeal begins. I agree with him that heroes take this time to restore energy that was used during the ordeal. This may make this downtime for the story but it is needed and the audience’s attention is resumed during the road back in which other crises may occur. I like that there are smaller obstacles the hero might have to overcome here. I think the ideas of retaliation or chasing with the villain is interesting and common in most stories. I like the varieties of reward as well including self realization and epiphany; sometimes these are the most precious rewards. The journey can be material versus emotional or vice versa. These differences keep stories interesting.
Questions
Must heroes earn love or is this something they can have before?
What other kinds of celebration do heroes experience?
Are there stories that end on the road back, do some heroes never return home?
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler beings to discuss the next step after the ordeal and that is the reward. The hero now has to deal with any consequences but also savors the pleasure of victory. There are several ways this can be shown. The first is through celebration. It is natural for heroes to celebrate the completion of the ordeal and recuperate. This joy can also be seen through campfires which also gives time for jokes and reminiscing. Love scenes also occur here when the hero has earned them. Sometimes the hero now takes possession of something he or she was searching for in the beginning. Another name for this might be seizing the sword; a treasure might even be stolen by the hero. Elixir theft is similar, sometimes the hero is required to steal it, and it can be the secret of life and death. Initiation may result as a reward from the ordeal as might new perceptions, self realization, or the ability to see through deception. A hero might also have an epiphany; a realization of divinity, sometimes surviving death might give this impression. There can also be distortions causing the hero to have an over inflated ego. The following step of the journey is the road back. The energy of the story can pick up again here as we move into the final act of the story. Motivation is one cause for this when the hero rededicates themselves to the adventure. Retaliation to finish off the villain may be another cause. Chase scenes can be an effective technique because audiences enjoy it. The magic flight is the whimsical transformation of objects during the chase. The chase may be between heroes and villains or between heroes and admirers. Sometimes the road back can deal with an escaped villain or other setbacks. In the end, the hero hopes to return to the ordinary world with his or her reward from the special world.
Response
I like the idea that the reward stage can occur with so many varieties, like generic celebration to campfires to love scenes. Although Vogler says heroes must earn the love, I think that some heroes are fortunate to have this before the ordeal begins. I agree with him that heroes take this time to restore energy that was used during the ordeal. This may make this downtime for the story but it is needed and the audience’s attention is resumed during the road back in which other crises may occur. I like that there are smaller obstacles the hero might have to overcome here. I think the ideas of retaliation or chasing with the villain is interesting and common in most stories. I like the varieties of reward as well including self realization and epiphany; sometimes these are the most precious rewards. The journey can be material versus emotional or vice versa. These differences keep stories interesting.
Questions
Must heroes earn love or is this something they can have before?
What other kinds of celebration do heroes experience?
Are there stories that end on the road back, do some heroes never return home?
Monday, October 20, 2008
Adding the credit
Extra Credit:
For my random act of kindness, I bought my friend's dinner one night.
Links relating to my research paper:
http://www.youtube.com/watch?v=yArKo0B7-Jo
http://www.youtube.com/watch?v=Vv0FXQ8IA5A&feature=related
http://www.youtube.com/watch?v=y1gxa-Dij3k&feature=related
For my random act of kindness, I bought my friend's dinner one night.
Links relating to my research paper:
http://www.youtube.com/watch?v=yArKo0B7-Jo
http://www.youtube.com/watch?v=Vv0FXQ8IA5A&feature=related
http://www.youtube.com/watch?v=y1gxa-Dij3k&feature=related
Research Ideas
A summary of my strengths and weaknesses after having peers review my outline:
A strength seemed to be my unique topic idea, stated a few times. Also that I am comparing and contrasting wolves to people which is interesting.
Suggestions include narrowing the focus, finding the history of evolvement, researching a behavioral change due to human expansion, and appealing to a large audience.
A strength seemed to be my unique topic idea, stated a few times. Also that I am comparing and contrasting wolves to people which is interesting.
Suggestions include narrowing the focus, finding the history of evolvement, researching a behavioral change due to human expansion, and appealing to a large audience.
Sunday, October 19, 2008
What's Vogler's Ordeal?
Vogler, Christopher. “Approach to the Innermost Cave- The Ordeal.” The Writer's
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler begins a discussion with the approach to the innermost cave which is often terrifying and dangerous. He says there are different functions for this approach like making more plans, thinning the group, arm the team, have a last laugh. At this time, in romantic stories, the hero can bond with a loved one prior to the ordeal. Sometimes the hero boldly passes through to seek the ordeal and other times they prepare, arm themselves and gather information first. Vogler continues on to discuss the characters from the Wizard of Oz because their story is so classic and contains good examples of these steps. They go through obstacles and illusions before meeting the threshold guardians. Then they may enter another special world and should be prepared, a warning may follow. Another threshold may stand in the hero’s way and they may have to make an emotional appeal to the guardian. There is an impossible test which results in complications and might even raise the stakes. The hero might need to reorganize and expect heavy defenses. Also, at this point, archetypes or the hero may undergo some changes. The hero might have to get into the enemy’s mind to prepare for the ideal, too. There is often no exit, no way for the hero to escape the ordeal at this stage in the journey.
The ordeal is the biggest, most exciting part of the journey for the hero because it is the main action that they have been preparing for. “The hero must die so that they can be reborn.” This is the essence of this stage whether literal or not. The hero returns from the journey having changed because of their experience. It’s also important to note that the crisis, the point in the story when the hostile forces are most tense, is not the climax, which would occur later. There are central and delayed crises. The ordeal does have points of tension which are held in place by the story’s structure. Many stories depend on the point of view, but often a witness sees the hero “die”. Audiences like to see death because it evokes emotion and adventure. The emotions of the audience can be played with and shifts from low to high peaks. The hero often appears to die in front of witnesses, but then cheats death, or the hero witnesses death; sometimes the hero even causes death. The most common ordeal is a battle with the opposing forces, like the shadow which has both negative and positive aspects. The shadow is different from the villain. Demonization may happen as well, it is the projection of all things we dislike about ourselves. The death of the villain is an important part of the ordeal, and it should be hard to accomplish. Sometimes the villain manages to escape wounded only to appear later in the story. It is also important to realize that villains see themselves as heroes from another point of view. As far as romance goes, the crisis might be a fear of intimacy, or a moment of betrayal, it might even be sacred marriage when the hero is in a state of centered balance. Sometimes love can even manifest into a shape shifting lover. There could also be negative projections of the anima or animus. Sometimes the ordeal refers to a conflict of age whether it is older versus younger generations of between parents and children. The last bit of the discussion on the ordeal is the death of the ego when the hero has been reborn after facing the crisis.
Reaction
Once again, Vogler gave an in-depth analysis of two stages of the hero’s journey providing information and examples for several varieties of the store. First was the approach to the innermost cave which can be very dangerous and include many parts within itself like meeting the threshold guardians and organizing the team and preparing for the big ordeal. At this point the audience can feel the danger and suspense as they wait for the major action which draws them into the story. We like the threat of death or the loss of another character. For some reason, people are attracted to death. It is such a mystery to us that we try to experience it in small doses to understand. Because of this we watch and listen to scary stories or take part in thrilling adventures, like skydiving for example just to feel that rush.
The ordeal is definitely the most significant part of the journey because it is what the audience and the hero have been preparing for and thinking about. A lot takes place during this stage, the hero must face death or their greatest fear, the shadow. They must face the biggest test yet, which should be much harder than the smaller tests beforehand. They finally face the villain, and I like that Vogler mentions that the villain is a hero to himself and if the story were told differently we would see that. This is interesting because I have often thought of that. Although they are bad in our eyes, they are always fighting for their own cause and in their life they are doing what is just and the roles and emotional shifts are reversed. I also like that Vogler included romantic stories because the steps of the journey are very different from action packed stories. Despite the drastic differences they imply the same principles which allows for a lot of leeway in these journeys.
Questions
Do other genres have different steps, aside from typical actions and romances? Do the stages have small alterations you can think of?
Why does the hero need to approach the innermost cave without just barging through? What do they learn here, is it necessary?
Why do you think we want to identify with death so much, what is our fascination?
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler begins a discussion with the approach to the innermost cave which is often terrifying and dangerous. He says there are different functions for this approach like making more plans, thinning the group, arm the team, have a last laugh. At this time, in romantic stories, the hero can bond with a loved one prior to the ordeal. Sometimes the hero boldly passes through to seek the ordeal and other times they prepare, arm themselves and gather information first. Vogler continues on to discuss the characters from the Wizard of Oz because their story is so classic and contains good examples of these steps. They go through obstacles and illusions before meeting the threshold guardians. Then they may enter another special world and should be prepared, a warning may follow. Another threshold may stand in the hero’s way and they may have to make an emotional appeal to the guardian. There is an impossible test which results in complications and might even raise the stakes. The hero might need to reorganize and expect heavy defenses. Also, at this point, archetypes or the hero may undergo some changes. The hero might have to get into the enemy’s mind to prepare for the ideal, too. There is often no exit, no way for the hero to escape the ordeal at this stage in the journey.
The ordeal is the biggest, most exciting part of the journey for the hero because it is the main action that they have been preparing for. “The hero must die so that they can be reborn.” This is the essence of this stage whether literal or not. The hero returns from the journey having changed because of their experience. It’s also important to note that the crisis, the point in the story when the hostile forces are most tense, is not the climax, which would occur later. There are central and delayed crises. The ordeal does have points of tension which are held in place by the story’s structure. Many stories depend on the point of view, but often a witness sees the hero “die”. Audiences like to see death because it evokes emotion and adventure. The emotions of the audience can be played with and shifts from low to high peaks. The hero often appears to die in front of witnesses, but then cheats death, or the hero witnesses death; sometimes the hero even causes death. The most common ordeal is a battle with the opposing forces, like the shadow which has both negative and positive aspects. The shadow is different from the villain. Demonization may happen as well, it is the projection of all things we dislike about ourselves. The death of the villain is an important part of the ordeal, and it should be hard to accomplish. Sometimes the villain manages to escape wounded only to appear later in the story. It is also important to realize that villains see themselves as heroes from another point of view. As far as romance goes, the crisis might be a fear of intimacy, or a moment of betrayal, it might even be sacred marriage when the hero is in a state of centered balance. Sometimes love can even manifest into a shape shifting lover. There could also be negative projections of the anima or animus. Sometimes the ordeal refers to a conflict of age whether it is older versus younger generations of between parents and children. The last bit of the discussion on the ordeal is the death of the ego when the hero has been reborn after facing the crisis.
Reaction
Once again, Vogler gave an in-depth analysis of two stages of the hero’s journey providing information and examples for several varieties of the store. First was the approach to the innermost cave which can be very dangerous and include many parts within itself like meeting the threshold guardians and organizing the team and preparing for the big ordeal. At this point the audience can feel the danger and suspense as they wait for the major action which draws them into the story. We like the threat of death or the loss of another character. For some reason, people are attracted to death. It is such a mystery to us that we try to experience it in small doses to understand. Because of this we watch and listen to scary stories or take part in thrilling adventures, like skydiving for example just to feel that rush.
The ordeal is definitely the most significant part of the journey because it is what the audience and the hero have been preparing for and thinking about. A lot takes place during this stage, the hero must face death or their greatest fear, the shadow. They must face the biggest test yet, which should be much harder than the smaller tests beforehand. They finally face the villain, and I like that Vogler mentions that the villain is a hero to himself and if the story were told differently we would see that. This is interesting because I have often thought of that. Although they are bad in our eyes, they are always fighting for their own cause and in their life they are doing what is just and the roles and emotional shifts are reversed. I also like that Vogler included romantic stories because the steps of the journey are very different from action packed stories. Despite the drastic differences they imply the same principles which allows for a lot of leeway in these journeys.
Questions
Do other genres have different steps, aside from typical actions and romances? Do the stages have small alterations you can think of?
Why does the hero need to approach the innermost cave without just barging through? What do they learn here, is it necessary?
Why do you think we want to identify with death so much, what is our fascination?
Sunday, October 12, 2008
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?
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?
Subscribe to:
Posts (Atom)