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?
3 comments:
3. Because we can understand that they have feelings and defects just like we do. When you see a hero presenting these type of things you say: "Oh, now I see that even heroes have those kind of things too." Instead of making a hero just perfect, without any flaws, it is better to add some defects too to let us know that everybody has flaws and things to improve like we do.
Flaws and wounds make the audience identify with the hero because flaws and wounds are human qualities therefore a hero who contains those qualities is more realistic.
We each know that all individuals are not perfect and that we all have flaws and have done things we are not particularly proud of. If a hero hasn’t made any mistakes the audience will not find common ground with that character.
Most of all, the flaws and wounds make the hero interesting. The audience isn’t attracted to perfect characters because they want to experience something that is more like our own lives. Even if the story takes place in a completely different world, that human element in the characters must still exist.
In the audience eyes, a hero is someone who is not perfect and achieves his goal and overcomes his obstacles despite his imperfections, not without them.
I think flaws and wounds are essential to any hero character. Everybody has their own flaws that they are grappling with, and to see a hero or someone we are supposed to look up to have some of the same flaws makes it easier for us to relate to them. The hero is usually trying to overcome these flaws and change for the better. When he or she accomplishes this, it gives the viewer an optimistic sense that they can change their own flaws and also that the people around them can change. As far as wounds go, we all have our own wounds that we have to deal with. These wounds can hold us back just as they hold the hero back. It's impossible for anyone to go through life and never be hurt by anyone. Wounds are a part of who we are and giving a hero some wounds shows us that they are not totally invisible but they are vulnerable like us.
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