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.