Andrew Biersack
9/28/08
Robinson
Annotated bib #4
Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 83-105.
Summary
In book two of the Vogler text, he switches focus from the archetypes found in characters throughout stories and begins to focus on the stages of the Hero’s Journey; specifically that of the Ordinary World and the Call to Adventure. It comments that the beginning of the story is actually the most complicated piece because of the many multi-lateral functions the Ordinary World must satisfy. Its purpose is to hook the reader, set the tone and direction, and portray background information about the hero critical to the audience’s ability to relate to the hero, all without slowing the pace. Vogler discusses how many of these elements are effected/ portrayed to the audience even before the first line or opening scene. He is of course referring to the affect that a Title, opening image and/or prologue can do for setting the scene of what is to come. The importance of making the Ordinary World as different as possible from the Special World is stressed here, as doing so will allow the reader to experience the most dramatic effect. For example Vogler cites The Wizard of Oz and its transformation from black and white to stunning Technicolor as Dorothy transitions worlds. Foreshadowing presents an interesting method to presenting the Ordinary World, while still keeping the audience involved. According to Vogler, this section should raise the dramatic questions about the hero’s emotions that hook the audience into the hero’s story and keeps them interested. He also describes the need for hero’s to both Inner and Outer problems to be complete, interesting heroes. The hero needs to not only complete his physical action (bring loved one back home), but he needs to learn something in the process as well to appeal to the universal archetypes. Next he discussed the Hero’s Entrance and introduction to the audience and the unique opportunity it presents to get a wealth of information across about the hero’s “attitude, emotional state, background, strength, and problems,” subtly without losing audience interest. These should display the “universal goals, drives or needs” of the hero that allow connection to the hero. Another important method to have the audience connect with the hero is the element of the hero’s lack of an important human element or character trait keeping him/her from being whole or similarly a fatal flaw or wound. Another important factor in ensuring the audiences continued interest in the story established in the Ordinary World stage is clearly stating what is at stake; the higher the stakes the better, always. This is also a key place to state the theme of the story, “the underlying statement about an aspect of life.” He also reviews the call to adventure and the countless ways in which it is introduced from a telegram to synchronization of accidents/coincidences, that all serve to get the action rolling. Some heroes are tempted out by the promise of lust, love or fortune and glory. Often times a Mentor will wear the mask of the Herald to get the hero to rise to action, sometime in an uncomfortable way. Other characters are motivated by a lack or need, when something is taken from the hero and balance must be restored by action.
Reaction
This section of the Vogler text was clear and engaging. He uses several examples to explain his points, though some of them may be unfamiliar to persons outside the entertainment industry, the manner in which he presents them allows comprehension. It seems as though Vogler intends this part of the story to be rather lengthy in order to accomplish the many tasks, in a creative manner, which should be established in the beginning.
Questions
1. Does the Ordinary World always have to be boring? Thus presenting a challenge to the writer to keep the audience interested.
2. How much background information about a hero is appropriate?
3. Do we have real life Calls to Adventure? If so, what are some examples of such. What motivates our contemporary hero’s?
Sunday, September 28, 2008
Monday, September 22, 2008
Andrew Biersack
9/20/08
Robinson
Volger Annotated Bib. 3
Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 49-80.
Summary
In this section of Vogler he elaborates on the archetypes of The Herald, The Shapeshifter, The Shadow, The Ally, and The Trickster. The Herald is the archetypal character that usually gets the story in motion, the one that sets before the hero the challenge or obstacle, delivering the call to adventure. The Herald is essential in every story because it provides the motivation for the character(s) to act and events to transpire. The Shapeshifter is a difficult archetype to describe and analyze simply because of its nature as elusive it doesn’t lend itself to easy, clear examples of itself. It represents of perpetually changing nature, often like that we view in the opposite sex, of characters in the story that have interplay with the hero, usually causing drama. Often times it is a member of the opposite sex, either with benevolent intent or malicious intent they mostly serve to confuse. The Shadow is effectually the villain, antagonist and/or monster of any story. Clearly the Shadow is crucial to every story, is gives the hero a foil, a reason to rise and act. The shadow however, is not merely the embodiment of evil forces, but rather that of the forgotten or repressed unhealthily festered that exists within us all. For this reason, the best villains are often the most humanized villains. Combined with this aspect, the ability of the Shadow character to be flexible enough to wear the “masks” of other archetypes allows for creativity and the creation of some very unique, interesting and dynamic characters. The shadow and hero are not merely opposites, good vs., evil, but rather, two sides of the same coin.
The Ally archetype is critical to the audience understanding of plot in many stories, the serve to inform the audience at times where it is in appropriate for the Hero to monologue details. The serve as conscience, partner, comic relief, and bring to light the “forgotten” or unexplored aspects of the hero’s character. They can run the spectrum from worthy adversary turned partner, to a fury creature or robot servant they still perform, basically the same function. The final archetype discussed was that of the Trickster. Similar in purpose to the ally, however much more often combined with the archetype to be Trickster heroes and Shadow Trickster/ Ally’s. They provide much needed comic relief but also “hold a mirror to hypocrisy of society” and challenge the status quo. In so doing, they are often catalyst characters but provide necessary jump or “life’ in the staunchest of dramas.
Reaction
Perhaps do to the difference in topics discussed; Vogler seems to have less of a wealth of examples from literature and film to precisely exemplify the archetypes of The Shapeshifter and Herald. He still conveys their purpose masterfully, allowing writers reading his novel to understand and be aware of how to manipulate these archetypes, yet lacking modern examples of such. Volger also raises some curious aspects of the shadow that add new dimensions to an archetype that can be represented so one dimensionally. The shadow character more often than not, is a product of one’s own misguided attempts/ emotions, etc. rather than simply a manifestation of pure evil.
Questions
1. Do we still encounter shapeshifters in the modern world today? If yes, what are some common types of shapeshifters that block us on our path?
2. What is it about the repression of emotions, added with time that can create something so powerful? Do people, in this manner, create their own demons?
3. Do heroes always take the advice of their Allies? How does this affect the ally character when the Hero chooses not to? A real possibility.
9/20/08
Robinson
Volger Annotated Bib. 3
Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 49-80.
Summary
In this section of Vogler he elaborates on the archetypes of The Herald, The Shapeshifter, The Shadow, The Ally, and The Trickster. The Herald is the archetypal character that usually gets the story in motion, the one that sets before the hero the challenge or obstacle, delivering the call to adventure. The Herald is essential in every story because it provides the motivation for the character(s) to act and events to transpire. The Shapeshifter is a difficult archetype to describe and analyze simply because of its nature as elusive it doesn’t lend itself to easy, clear examples of itself. It represents of perpetually changing nature, often like that we view in the opposite sex, of characters in the story that have interplay with the hero, usually causing drama. Often times it is a member of the opposite sex, either with benevolent intent or malicious intent they mostly serve to confuse. The Shadow is effectually the villain, antagonist and/or monster of any story. Clearly the Shadow is crucial to every story, is gives the hero a foil, a reason to rise and act. The shadow however, is not merely the embodiment of evil forces, but rather that of the forgotten or repressed unhealthily festered that exists within us all. For this reason, the best villains are often the most humanized villains. Combined with this aspect, the ability of the Shadow character to be flexible enough to wear the “masks” of other archetypes allows for creativity and the creation of some very unique, interesting and dynamic characters. The shadow and hero are not merely opposites, good vs., evil, but rather, two sides of the same coin.
The Ally archetype is critical to the audience understanding of plot in many stories, the serve to inform the audience at times where it is in appropriate for the Hero to monologue details. The serve as conscience, partner, comic relief, and bring to light the “forgotten” or unexplored aspects of the hero’s character. They can run the spectrum from worthy adversary turned partner, to a fury creature or robot servant they still perform, basically the same function. The final archetype discussed was that of the Trickster. Similar in purpose to the ally, however much more often combined with the archetype to be Trickster heroes and Shadow Trickster/ Ally’s. They provide much needed comic relief but also “hold a mirror to hypocrisy of society” and challenge the status quo. In so doing, they are often catalyst characters but provide necessary jump or “life’ in the staunchest of dramas.
Reaction
Perhaps do to the difference in topics discussed; Vogler seems to have less of a wealth of examples from literature and film to precisely exemplify the archetypes of The Shapeshifter and Herald. He still conveys their purpose masterfully, allowing writers reading his novel to understand and be aware of how to manipulate these archetypes, yet lacking modern examples of such. Volger also raises some curious aspects of the shadow that add new dimensions to an archetype that can be represented so one dimensionally. The shadow character more often than not, is a product of one’s own misguided attempts/ emotions, etc. rather than simply a manifestation of pure evil.
Questions
1. Do we still encounter shapeshifters in the modern world today? If yes, what are some common types of shapeshifters that block us on our path?
2. What is it about the repression of emotions, added with time that can create something so powerful? Do people, in this manner, create their own demons?
3. Do heroes always take the advice of their Allies? How does this affect the ally character when the Hero chooses not to? A real possibility.
Tuesday, September 2, 2008
assignment 1
I am very unfamiliar with Disney characters as such, it is very difficult for me to compare/contrast myself to a character. The only disney tales i recal from childhood are The little mermaid and Pinocio. Since I identify neither with a liar nor a fish, im struggling to find a parrallel.
However, after reading The Writer's Journey Mythic Structure for Writers 3rd edition by Christopher Vogler, i understand the Disney characters to be a basic, blaton depiction of the Hero's Journey, according to Vogler. Then if most, if not all, the Disney characters fit the same mold of the Hero's Journey, then choosing one to identify with is essentially choosing them all in virtue. If Vogler's statements are true, and i interpret them correctly, really any character is extrmely comprable to another, in essence, aligning one's self with any character would suffice, would it not?
I would compare myself then to perhaps Marty Mcfly, the young man in Back To the Future, comes to mind. He is a young, dishevled high school student cruising through life looking for fun and everything keeps getting in his way. Marty takes it all in stride and rides the adventures life sends his way. Obvioulsy I, nor anyone else, has ever gone back in time...but the essence of the his "hero's journey" is the same. Unpredicatble circumstances bring what appear to be immposible obstacles to stand in his way and he, rather unconcentionally, escapes them by the skin of his teeth. Ultimately he realizes an appreciation for the things and life her has, a moral a think all americans could use.
However, after reading The Writer's Journey Mythic Structure for Writers 3rd edition by Christopher Vogler, i understand the Disney characters to be a basic, blaton depiction of the Hero's Journey, according to Vogler. Then if most, if not all, the Disney characters fit the same mold of the Hero's Journey, then choosing one to identify with is essentially choosing them all in virtue. If Vogler's statements are true, and i interpret them correctly, really any character is extrmely comprable to another, in essence, aligning one's self with any character would suffice, would it not?
I would compare myself then to perhaps Marty Mcfly, the young man in Back To the Future, comes to mind. He is a young, dishevled high school student cruising through life looking for fun and everything keeps getting in his way. Marty takes it all in stride and rides the adventures life sends his way. Obvioulsy I, nor anyone else, has ever gone back in time...but the essence of the his "hero's journey" is the same. Unpredicatble circumstances bring what appear to be immposible obstacles to stand in his way and he, rather unconcentionally, escapes them by the skin of his teeth. Ultimately he realizes an appreciation for the things and life her has, a moral a think all americans could use.
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