Annotated Bibliography

Vogler, Christopher. "The Ordinary World and The Call to Adventure." The Writer's Journey : Mythic Structure for Writers. By Christopher Vogler. Vol. 3. Studio City, CA: Michael Wiese Productions, 2007. 83-105.

Summary

The Ordinary World is the “world of the common day.” It is the world in which the hero is familiar and from which the story starts. Vogler stresses how important the title can be to the story and how the opening image can set the mood for the entire novel. Though not always necessary, a prologue can also be extremely helpful in setting the mood and catching the audience’s attention. Vogeler says  “it may give an essential piece of backstory....let the audience settle into their seats.” (86) However, a prologue is not always necessary, and in some cases may even detract from the story. The Ordinary World must also be as different from the Special World as possible. This means that the Special World will be even more special, and the audience will experience a dramatic change. 

The Ordinary World can also be used as a way of foreshadowing the battles and dilemmas in the special world. All hero’s need problems, both inner and outer. Without conflicts and problems, the hero is one dimensional, flat no matter how heroically they might act.  Hero’s often have a tragic flaw, something that is eventually their downfall. Another important aspect has to do with the theme of the story. The theme is often first brought up in the Ordinary World. Volger next talks about The Call to Adventure. All authors and story tellers agree that some event is required to get the adventure moving. There are many ways in which the call may be delivered, but typically a herald of some kind is involved. There may be more then one call, which delivers more complexity to the story. 

Reflection

Vogler’s analysis of the Ordinary World was much more detailed and in depth then I thought it would be. I didn’t really think that there was that much to the Ordinary World. After reading however, I was struck by how often I see many of the things that Vogler talks about in books I read and movies I watch. For instance, in Pretty Women, Vivian must move form a world she is comfortable in to one she feels out of place in. Her life as a prostitute is very obviously the Ordinary World and it contains many of the attributes that Vogler talks about. 

I like that Vogler talks more about the hero in this chapter. I feel like it gives you a better understanding of the Ordinary World in relation to the hero. Once again, there was much more to the Call to Adventure then I thought there would be. I assumed that there would be a herald, or some other kind of internal conflict that would constitute the Call to Adventure. I was wrong, there are many, many ways in which a hero can be called to adventure. It makes all the stories much more diverse and interesting to read. 

3 Questions

1. Can you think of any book, movie, etc. where there was no call to adventure? Do you think the Call to Adventure is necessary?

2. Do you think that all hero’s have at least some trace of a tragic flaw?

3. Why do you think tragic flaws and wounds make characters more likable and easier to relate to?

Annotated Bibliography

Vogler, Christopher. "The Archetypes." The Writer's Journey : Mythic Structure for Writers. By Christopher Vogler. Vol. 3. Studio City, CA: Michael Wiese Productions, 2007. 49-80.

Summary 

Vogler continues to explain that archetypes to us in this section. He teaches us about the Threshold Guardian, Herald, Shapeshifter, Shadow, Ally and Trickster. Vogler shows us the function that each one of these archetypes performs and their importance in the story. For example, the Herald is typically employed in Act One to start the hero out on their journey. The Shadow is often not even a real being, merely a repressed part of the Hero’s emotions. 

Shapeshifters are often a different sex then the main character, and their loyalties are often in question. The archetype of the Ally is pretty self explanatory but at the same time, Vogler does a very good job or explaining it to us. He tells us that Allies are often an  “audience character.” They are able to ask questions about the Special World, or the journey that the audience wants to know the answers to. The Trickster archetype is most often seen in mythology and many heroes in mythology are Trickster heroes. 

Reflection

For me, the most interesting thing is that one character can be many archetypes. In some way, I knew this before I read Vogler, but I didn’t really think about it. The fact that a character can be a shadow character and then a hero all at the same time is an interesting concept. It allows the character to have much more depth and you are able to empathize with them more, because that dark side makes them more human. 

My favorite part was the Ally section. I liked that Vogler talked about an ally being and “audience character” because I’ve often noticed this in books that I’ve read. The main ally to the hero is the character that clears up questions the audience may have. Before reading I’d thought that I had never seen anything about the Trickster archetype, but then after reading I realized that Tricksters are everywhere. 

3 Questions

Why do you think that most times the Shapeshifter archetype is the opposite sex of the main character of the story? 

Have you seen examples of these archetypes in your everyday life?

Why do you think it is so easy for any one of these archetypes to also be another archetype at the same time?

I would be...

Megara 

(from hercules)

Much of the time when you read a list of the "Disney princesses" Megara is not included among them. This may have something to do with the fact that Megara is not like your typical princess. She is witty, sarcastic, independent and doesn't need a man. In fact, Meg often speaks of how she doesn't want to fall in love. She's been wronged, and fends for herself now. In addition, Megara also uses Hercules for her own ends in the movie. Her actions, and her personality make her very unlike any of the other princesses who are often lovesick damsels in distress with royal parents. Megara has none of those things.

While I don't plan on using someone for my own ends, I am very much like Megara when it comes to my personality. I prefer to do things myself and not depend on others. I like to think of myself as fairly self efficient and able to take care of myself. I don't think that a women needs a man, much like Meg. I never go looking for a boy, I think love happens when you least expect it. While I'm not the wittiest person, I do put on a tough front sometimes and care underneath. Megara is one of the most real and dimensional characters among the Disney females, and I think that has something to do with all of her flaws.

 

Megara - I won't say I'm In Love