Impact Program[1]

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Impact Program[1]

  1. 1. Amy Powell Impact—Tech 5/20 Prof. Lederer Excerpted from Christopher Vogler’s The Writer’s Journey * Images from George Lucas’ Star Wars and Disney’s The Lion King The Hero's Journey
  2. 3. Hero <ul><li>In a story, the hero goes through 12 stages </li></ul><ul><ul><li>The Ordinary World </li></ul></ul><ul><ul><li>The Call to Adventure </li></ul></ul><ul><ul><li>Reluctance/Refusing the Call </li></ul></ul><ul><ul><li>Mentor </li></ul></ul><ul><ul><li>Crossing the First Threshold </li></ul></ul><ul><ul><li>Tests, Allies, and Enemies </li></ul></ul><ul><ul><li>Approach to the Inmost Cave </li></ul></ul><ul><ul><li>The Ordeal </li></ul></ul><ul><ul><li>The Reward </li></ul></ul><ul><ul><li>The Road Back </li></ul></ul><ul><ul><li>The Final Challenge </li></ul></ul><ul><ul><li>Return With the “Treasure” </li></ul></ul>
  3. 4. The Hero Begins… <ul><li>In the Ordinary World </li></ul><ul><ul><li>Most stories take the hero out of their mundane everyday lives and place them in a special ‘world.’ </li></ul></ul><ul><ul><li>In order to make the new world stand out, you have to paint a vivid picture of the old or ordinary world that the hero initially inhabits. </li></ul></ul>
  4. 5. The Ordinary World - Tatooine
  5. 6. The Ordinary World - Tatooine
  6. 7. The Call to Adventure <ul><li>The hero is called from his/her ordinary world in order to get the ‘treasure,’ right a wrong, or chase Mr. or Ms. Right. </li></ul><ul><li>The call to adventure sets the stakes for the reader or viewer. The hero’s goal is clear: get the girl, grab the treasure, get back. </li></ul>
  7. 8. The Call to Adventure <ul><li>“ Help me, Obi Wan Kenobi. You’re my only hope!” </li></ul>
  8. 9. Reluctance <ul><li>Often, in the beginning of an adventure, the hero will refuse the call, c i ting other responsibilities or the fear of getting “in too deep.” </li></ul><ul><li>Usually, this reluctance is overcome by the mentor figure or by circumstances that have become more extreme or intolerable than the actual adventure may be. </li></ul>
  9. 10. Reluctance
  10. 11. The First Threshold <ul><li>The first threshold signals a twist in the storyline. </li></ul><ul><li>The plot intensifies, and the hero must act. </li></ul><ul><li>Usually, something traumatic happens to spur the hero to action – i.e. someone dies, gets dumped, or is kidnapped, etc. </li></ul><ul><li>This trauma is the catalyst that shoves the hero into the new, ‘special world.’ </li></ul>
  11. 12. Mentor Encouragement
  12. 13. Tests, Allies, and Enemies <ul><li>The first test of the hero’s moral character and determination usually occur in highly social settings. </li></ul><ul><li>Cheap diners, dance clubs, and seedy cantinas are good settings for this kind of interaction. </li></ul><ul><li>The hero’s ability to pick out allies from enemies in this tricky setting displays his or her mental acumen (brains). </li></ul>
  13. 14. Tests, Allies, and Enemies
  14. 15. Allies
  15. 16. Enemies
  16. 17. Approaching the Inmost Cave <ul><li>The hero, now firmly committed to the adventure, approaches his or her enemy where they ‘live.’ </li></ul><ul><li>In modern films and novels, it is usually the headquarters of the enemy. </li></ul><ul><li>The Hero must outwit his enemy’s guards in order to get to the treasure. </li></ul><ul><li>The “inmost” cave is a dangerous place, often deep underground, where the treasure is hidden. </li></ul>
  17. 18. Approaching the Inmost Cave <ul><li>In mythology, the inmost cave may represent the land of the </li></ul><ul><li>… or a maze </li></ul><ul><li>… or a cave where the dragon hides the treasure </li></ul><ul><li>… ooooor the bad guy’s hideout. </li></ul>
  18. 19. Approaching the Inmost Cave
  19. 20. Approaching the Inmost Cave

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