The 12 Best Movies That Follow the Hero's Journey

These movies use the monomyth to spectacular results.

Everyone who's interested in how stories are made is bound to have heard the term "the Hero's Journey." Also known as the monomyth, it's a story archetype coined and popularized by Joseph Campbell in the mid-1900s when he noticed that heroes in myths typically go through the same 17 stages in their journey, from the call to adventure that gets the character out of their comfort zone, to the freedom to live found at the end of the ordeals in their adventure.

This narrative template has served as the basis and inspiration of countless stories throughout history – including numerous outstanding films. From a grand fantastical story like Star Wars , to something more grounded in reality like O Brother, Where Art Thou? , these movies don't always follow every single one of the steps outlined by Campbell, but they stick to more than enough to call each of them a hero's journey . A tried-and-true way of telling successful stories that resonate with audiences of all ages and nationalities, movies that follow the Hero's Journey, if well-written, are always a delight like no other.

12 'Men in Black' (1997)

Barry sonnenfeld's campy sci-fi comedy.

One of the most iconic movies you may not know is based on Marvel comics , Men in Black is the story of a cop ( Will Smith ) who, after a chase with an otherworldly being, is recruited by an organization that monitors and polices alien activity on Earth. There's something for every sci-fi fan to enjoy in this movie, from visually stunning special effects to mind-blowing action and just the right amount of humor.

Men in Black follows the Hero's Journey nearly to a tee , from Agent J getting the call to join the mission of protecting the planet from alien threats and initially refusing the call, to him finally learning to master his two worlds and become the hero he was meant to be. The result is a thrilling sci-fi action adventure that doesn't get nearly enough praise nowadays, with a heroic protagonist that's a joy to follow through his journey.

Men In Black

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11 'O Brother, Where Art Thou?' (2000)

Joel and ethan coen's take on an old classic.

The Coen brothers are masters of making some of the most entertaining crime movies, and O Brother, Where Art Thou? is definitely one of their best. Loosely based on Homer 's The Odyssey , it's about three fugitives roaming the southern U.S. in search of treasure with the law hot on their heels. Unlike the Greek classic, however, the Coens' crime film has great Southern American music, traditional Western tropes, and stars George Clooney , Tim Blake Nelson , and John Turturro .

The characters in O Brother, Where Art Thou? encounter mentors, face challenges, and go through profound transformations , just like the heroes in the monomyth do. The ensuing adventure is as humorous as it is exciting, an offbeat adaptation of a massively important and influential classic. You can't go wrong with a well-written and well-directed Coen brothers movie, so O Brother should easily please all cinephiles' palates.

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10 'Batman Begins' (2005)

Christopher nolan's reinvention of the caped crusader.

Movies with Hero's Journey archetypes are fun enough as they are, but mix those elements with a superhero origin story, and you get one of the best entries in the superhero genre . That's what Batman Begins is, as it reinvents the story of Bruce Wayne's ( Christian Bale ) origins as the vigilante hero Batman, by placing the character on a journey to become the guardian that his beloved Gotham City deserves.

Christopher Nolan's first installment in his Dark Knight Trilogy feels more like a character-driven thriller than a traditional superhero film, in the best sense possible. The director cleverly fits Bruce's process of becoming the Dark Knight into Campbell's monomyth , showing audiences how the hero is eventually able to master his new identity to save his city.

Batman Begins

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9 'The Matrix' (1999)

Lana and lilly wachowski's game-changing extravaganza.

When the Wachowskis released The Matrix before the turn of the century, the world was taken by storm, and the sci-fi genre in films would never be the same again. In the movie that cemented him as an action star, Keanu Reeves plays Neo, a man who joins a group of insurgents in their fight against the powerful computers who rule Earth. To this day, The Matrix still receives praise as one of the best sci-fi movies ever .

With its visual innovations, clever cinematography, and unique philosophical themes that have been endlessly analyzed throughout the years, The Matrix was unlike anything audiences had seen before at the time of its release . Perhaps one of the main reasons why its story clicked so well with viewers around the world was because it closely follows the stages of the Hero's Journey, as Neo goes from an average Joe to an all-powerful hero.

Neo (Keanu Reeves) believes that Morpheus (Laurence Fishburne), an elusive figure considered to be the most dangerous man alive, can answer his question -- What is the Matrix? Neo is contacted by Trinity (Carrie-Anne Moss), a beautiful stranger who leads him into an underworld where he meets Morpheus. They fight a brutal battle for their lives against a cadre of viciously intelligent secret agents. It is a truth that could cost Neo something more precious than his life.

8 'Kung Fu Panda' (2008)

Mark osborne and john stevenson's martial arts adventure.

For those that think that family animated movies are exclusively for children, Kung Fu Panda is the perfect mind-changing watch. It follows Po ( Jack Black ), a lazy panda who dreams of being a kung fu hero, as he's thrust into a journey of discovering his destiny as the Chosen One. There are many examples of the Hero's Journey in movies that logically follow the same structure, but the creative things that Kung Fu Panda does with the archetype are entirely its own .

Just like all the compelling heroes of Campbell's model, Po is called to action, goes through several life-threatening ordeals with help from friends and allies, and finds that the power to be the guardian of the Valley of Peace comes from within. Sprinkled with hilarious humor, outstanding voice acting, and some of the best action in any animated film , it's undoubtedly one of DreamWorks Animation's best efforts.

Kung Fu Panda

7 'finding nemo' (2003), andrew stanton's love letter to fatherhood.

Hero's Journey movies are usually action-focused epics, and not often family-friendly stories about fish. That only makes Finding Nemo even more special. It's the story of Marlin ( Albert Brooks ), a timid clownfish who, after his son Nemo ( Alexander Gould in one of the best child voice performances in animated cinema) is kidnapped, sets out to find him against all the threats that the deep blue sea has to offer.

Though Finding Nemo isn't your typical kind of hero's journey, where the story is much more intimate and the biggest threats that the characters face are mostly internal, it very much follows the formula. What finds itself transformed in the end is the relationship between Marlin and Nemo, in one of the most touching endings of Pixar's filmography.

Finding Nemo

Watch on Disney+

6 'The Wizard of Oz' (1939)

Victor fleming's timeless musical classic.

An exciting adventure that uses both black-and-white and beautiful color , through a fantastical land that any movie fan would love to live in, The Wizard of Oz follows Dorothy ( Judy Garland ) in her journey through the magical land of Oz, searching for a mysterious wizard who can send her back home.

The movie was an absolute sensation when it came out, and even after more than three-quarters of a century, it's still remembered as one of the greatest American movie masterpieces. The stages of the monomyth are clear in The Wizard of Oz : the ordinary world is Kansas, Dorothy crosses a very literal threshold to a vastly different world, and her journey of transformation is full of faces both friendly and menacing.

The Wizard of Oz

5 'the lion king' (1994), roger allers and rob minkoff's twist on shakespeare.

1994's The Lion King is a movie that needs no introduction. Many would say that it's the best-animated movie to ever come out of Disney, and it's fully understandable, thanks to its timeless songs and the animated film's brilliant depiction of grief . It's the grand and epic story of Simba ( Matthew Broderick ), a lion cub prince who's tricked into exile by his uncle Scar ( Jeremy Irons ), who wishes to have the throne for himself.

The animation is majestic, with some really charming character designs, and the story is compelling from beginning to end. Its philosophical themes of identity and self-discovery are beautiful, and the way they're conveyed through a classic hero's journey structure in The Lion King is simply perfect . The film is in certain ways an adaptation of William Shakespeare 's Hamlet , but its fidelity to Campbell's monomyth is much more interesting to dissect.

The Lion King (1994)

4 'harry potter' saga (2001 - 2011), warner bros.' magical journey through hogwarts.

The Harry Potter series features not just one, but eight of the movies that best follow the Hero's Journey. From Chris Columbus 's Sorcerer's Stone to David Yates 's Deathly Hallows — Part 2 , the franchise follows the coming-of-age story of the titular character ( Daniel Radcliffe ) and his two best friends, as they grow to become key players in a war against an evil wizard.

Everyone has a different favorite installment in the series, but every Harry Potter movie plays an equally crucial role in the overarching narrative of the story, which very closely follows the monomyth . Not only that, but each film follows a smaller version of the general model as well. It's probably what makes these movies so easy to enjoy, since they so faithfully walk along the lines laid out by Campbell and so many filmmakers from before 2001.

Harry Potter and the Sorcerer's Stone

Adaptation of the first of J.K. Rowling's popular children's novels about Harry Potter, a boy who learns on his eleventh birthday that he is the orphaned son of two powerful wizards and possesses unique magical powers of his own. He is summoned from his life as an unwanted child to become a student at Hogwarts, an English boarding school for wizards. There, he meets several friends who become his closest allies and help him discover the truth about his parents' mysterious deaths.

3 'The Lord of the Rings' Trilogy (2001 - 2003)

Peter jackson's walk to mordor.

There are countless things that make Peter Jackson 's The Lord of the Rings trilogy one of the best fantasy film franchises of all time, and one of the most important is the fact that all three installments in the trilogy truly feel like part of a greater whole, as they collaborate in telling the story of Frodo ( Elijah Wood ), the Fellowship of the Ring, and their efforts to destroy the greatest tool of an evil tyrant terrorizing Middle-earth.

Of course, the monomyth-following template was already there, set in stone by the legendary J.R.R. Tolkien when he wrote what's undoubtedly one of the best series of fantasy books in history. Even yet, the way Jackson and company built on top of that, telling a story that feels undeniably cinematic, is admirable beyond measure.

The Lord of the Rings: The Fellowship of the Ring

2 'citizen kane' (1941), orson welles's groundbreaking masterpiece.

When Orson Welles made his passion project Citizen Kane , he probably had no idea that he was making what would in the future be referred to as the single greatest film of all time by thousands of people, as well as one of the most essential movies of the '40s . Inspired by magnate William Randolph Hearst , it's a character study about a group of reporters trying to decipher the last words of Charles Foster Kane (Welles), a powerful newspaper tycoon.

Citizen Kane is an entirely unique picture, and the way it's structured is just as well. Citizen Kane follows Campbell's monomyth formula in a very non-traditional way , which only makes it more of a groundbreaking story. There are plenty of good reasons for its fame, and that's certainly one of the biggest.

Citizen Kane

1 'star wars' (1977), george lucas's revolutionary space opera.

Perhaps no movie more famously follows the Hero's Journey archetype than Star Wars , with George Lucas having taken direct inspiration from Campbell . The hero in this particular story is Luke Skywalker ( Mark Hamill ), a young farm boy who's thrown into an adventure far greater than anything he'd encountered before, joining the Rebellion against the dictatorial Galactic Empire.

One of the best space operas of all time, Star Wars showcases what makes the monomyth such an effective way of telling stories and celebrating the art of storytelling itself. Luke is a deeply compelling hero, his journey is incredibly entertaining, and all the allies and villains that he encounters along the way are equally iconic. As far as modern myths go, Star Wars is certainly one of the best.

Star Wars: Episode IV - A New Hope

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Movies That Follow The Hero's Journey, Ranked By How Well They Use The Monomyth

Sergio Pereira

Vote up the movies that most effectively use the hero's journey.

While there are always exceptions, nearly every film relies on some kind of narrative structure. In its most simplistic form, this structure has a beginning, middle, and end. There are problems and solutions. The main character changes and grows. Viewers are inherently familiar with these elements, but may not be aware of their inner workings.

One of the most widely-used storytelling methods is the monomyth - better known as the hero's journey - which was described and codified by writer Joseph Campbell. There are 17 stages to this narrative pattern that can be split across three acts: Departure, Initiation, and Return. In a nutshell, a hero's journey movie sees the protagonist embark on an adventure or quest. Along the way, they face obstacles that make them question themselves and their purpose. Even though they inevitably hit rock bottom, the hero perseveres and grows into a new person in the end.

While Campbell's full structure includes 17 stages, let's quickly break down the 7 main ingredients:

The Ordinary World - The hero lives a familiar and simple life

Call to Adventure - The hero is presented with a challenge in the unknown world, but is reluctant

Crossing the Threshold - The hero decides to enter the unknown world to take on the challenge

Trials - While meeting mentors and helpers, the hero must overcome obstacles that lead to the main challenge

The Abyss - Setbacks accumulate and leave the hero with a sense of hopelessness

Atonement - Through reflection and aid from others, the hero regains their way

The Return - The hero resumes their quest, overcomes the main challenge (the climax), then returns to the familiar world as a changed person

With that basic understanding of how the monomyth works, take a look at the biggest movies that follow the hero's journey to storytelling success.

Star Wars: Episode IV – A New Hope

Star Wars: Episode IV – A New Hope

What Is The Journey? Luke Skywalker finds out his father was a Jedi and joins Obi-Wan Kenobi, Han Solo, Chewbacca, and two droids to rescue Leia Organa from the Galactic Empire.

What Trials Do They Face?  At first, Luke is unsure if he's worthy of learning how to become a Jedi and wield the magical power called the Force. However, after his aunt and uncle are killed by Stormtroopers, he embarks on a journey with Obi-Wan and begins to learn the ways of the Jedi. He is pulled into a world he knows nothing about, as he's forced to adapt on the fly, survive, and face the seemingly impossible threats of the Empire and Darth Vader. The danger only grows when Obi-Wan is struck down by Vader, leaving Luke without a teacher.

How Do They Overcome?  While Luke hasn't reached the point where he is the Jedi Master everyone knows here, he starts to believe in his own abilities and trust the power of the Force. He successfully taps into the Force to destroy the Empire's world-destroying weapon, the Death Star, and gains the confidence to join the Rebels in the ongoing fight against the Empire.

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The 'Lord of the Rings' Trilogy

The 'Lord of the Rings' Trilogy

What Is The Journey?  The young hobbit Frodo Baggins travels to Mount Doom in Mordor to destroy the powerful One Ring and bring an end to the evil reign of the Dark Lord Sauron.

What Trials Do They Face? Frodo embarks on a literal journey of considerable length, spanning three films. Every twist and turn signals a new threat as the forces of evil try to stop him from reaching Mordor. With each step, he must also resist the temptation of power that the One Ring presents - everyone who has carried it before has become corrupted at some point. As Frodo struggles with the belief that his willpower is not strong enough to resist the ring, his friends and allies, in particular his best friend Samwise Gamgee, aid and encourage him on his quest.

How Do They Overcome? Frodo realizes he isn't an island and needs to rely on the help of others. He shows the ultimate act of bravery by letting go of the burden of believing he is the only one who can complete this mission on his own and accepts the importance and assistance of the Fellowship around him. With Sam's help getting him to Mount Doom and pulling him  back from the brink at the last moment, Frodo completes the mission and returns home to the Shire, irrevocably changed by what he's been through. 

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Harry Potter and the Sorcerer's Stone

Harry Potter and the Sorcerer's Stone

What Is The Journey?  11-year-old orphan Harry Potter, who has been mistreated his whole life by his uncaring aunt and uncle, discovers he is a wizard. What's more, he's a legend among wizards for defeating the Dark Lord Voldemort as an infant. Now, as he attends the Hogwarts School of Witchcraft and Wizardry, he must live up to the massive expectations on him as "Boy Who Lived” while Voldemort threatens to rise again.

What Trials Do They Face?  For so long, Harry believes himself to be a nobody. Learning of his true heritage is full of joy and uncertainty, as he has great expectations to live up to, but no magic experience whatsoever. He must learn everything about this world from scratch, while withstanding the pressure of everyone watching him more closely because of who he is. Despite the belief and guidance of mentors such as Albus Dumbledore, Rubeus Hagrid, and Minerva McGonagall, he also has a laundry list of people waiting and rooting for him to fail. Harry also doesn't have the luxury of time on his side either, as whispers about Voldemort's return surface.

How Do They Overcome? Harry embraces his natural curiosity and bravery, facing up to unknown challenges even without the certainty that he'll win. He also forms tight bonds with his friends, Ron Weasley and Hermione Granger, who have his back no matter how grim the situation gets. Together, they navigate past magical traps and secure the Sorcerer's Stone before Voldemort - whose spirit has been lurking inside of one of their teachers, Professor Quirrell - can use it to restore his life. Harry rises to the challenge and accepts that he will likely have to face Voldemort again in the future.

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The Matrix

What Is The Journey?  Computer hacker Thomas Anderson, AKA Neo, suspects something isn't right in the world around him, and discovers what everyone perceives to be real is simply a facade to conceal what's actually taking place. When a mysterious mentor named Morpheus offers Neo the infamous red pill, Neo must forget everything he knows of the world and embrace a new truth.

What Trials Do They Face?  Neo is told he's the chosen one who needs to liberate humanity from its enslavement by the machines. However, he lacks the knowledge and skills to fight back against the Matrix, which requires him to change his way of thinking and develop the skills to manipulate the Matrix, which can extend to slowing down time and bending bullets. Morpheus opens his eyes to the reality of what's happening, but Neo is in a race against time to fulfill the prophecy while keeping the pesky agents - who could double as Ray-Ban models - at bay.

How Do They Overcome?  Neo accepts the prophecy that he's the chosen one. He lets go of everything he thought was real to ascend to a higher plain of existence and embrace his destiny to show other humans that freedom is possible.

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Spider-Man

What Is The Journey? Teen Peter Parker gets bitten by a radioactive spider, giving him superpowers; however, he needs to learn how to use these special - and sticky - abilities for the greater good of mankind.

What Trials Do They Face? The young Peter loses his mentor, Uncle Ben, and questions if he has the inner strength to juggle life as a teenager and fighting crime as the masked superhero known as Spider-Man. At the same time, a highly powered and deadly villain known as the Green Goblin rises in the city and offers Spider-Man a place by his side. Peter feels a moral obligation to his uncle's teachings and declines the offer, but now he needs to dodge the never-ending pumpkin bombs hurled at him by the Goblin, whom he soon discovers is his best friend's father.

How Do They Overcome? Peter finally understands his uncle's teachings: “With great power comes great responsibility.” He fights the Green Goblin, knowing that this battle will change both Spider-Man and Peter in the end. Finally, he accepts that his life will never be the same again because his powers are both a gift and curse that he needs to learn how to use for the benefit of all - yes, even J. Jonah Jameson, who sees him as a menace.

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Finding Nemo

Finding Nemo

What Is The Journey?  Meek and overprotective clownfish father Marlin must find the courage to embark on an unpredictable quest into the darkest reaches of the ocean to bring his son, Nemo, back home.

What Trials Do They Face?  Marlin fears his own shadow, treating life with the utmost caution and preferring the mundane over adventure. With his son gone, he needs to swim out of his comfort zone in more ways than one. He braves the dangers and uncertainties of the ocean, searching hard and refusing to give up on his son. Joining Marlin is the forgetful Dory, who teaches Marlin more about the importance of living in the moment and experiencing the fun of not knowing what happens next. 

How Do They Overcome? There are two major lessons that Marlin learns in the process of finding Nemo: first, he is brave and doesn't need to live his life in a state of paralyzing fear. Secondly, Nemo is more than capable of looking after himself, so it's up to Marlin to let go and allow his son to live life with all the risks that entails.

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The Lion King

The Lion King

What Is The Journey? After the death of his father Mufasa in a stampede, the young Simba runs away into exile, believing himself to be responsible for the traumatic event. However, he must return to reclaim leadership of the Pride Lands from his uncle, Scar, in order to save the animal kingdom.

What Trials Do They Face?  Due to Scar's manipulation, Simba feels incredible guilt over his father's death. Consequently, he tries to forget who he really is as he lives a carefree life with his pals, Timon and Pumbaa. It takes a combined effort from Nala and Rafiki, plus a message from his father on the other side, to remind Simba of who he is: the rightful king. At the same time, Simba is afraid to return after being away so long, especially due to the danger presented by Scar and his army of hyenas who now control the Pride Lands.

How Do They Overcome? Simba remembers the lessons he learned from his father about the qualities of being a king and how being afraid is never a bad thing. He finds the courage to face his past to create a new future. At the same time, his guilt is unburdened when Scar reveals his role in Mufasa's death, which gives Simba a renewed purpose to fight his uncle. He eventually takes his rightful place as the king of the Pride Lands.

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The Wizard of Oz

The Wizard of Oz

What Is The Journey?  Dorothy Gale dreams of a better life away from Kansas, “Somewhere Over The Rainbow.” However, when she her dog Toto get swept up in a tornado and land in the magical, colorful world known as Oz, she needs to follow the yellow brick road to the Emerald City and speak to the mysterious Wizard about helping her get back to Kansas.

What Trials Do They Face? From the get-go, Dorothy is in a pickle, as she's stuck in an unknown place. Complicating things more, her house lands on the Wicked Witch of the East, which upsets her sister, the Wicked Witch of the West. Now, not only does Dorothy need to make her way on foot to the Emerald City and find the Wizard of Oz with help from her motley crew of companions, but she also needs to keep looking over her shoulder because the Witch has nefarious plans for her. Then, to top it all off, Dorothy finds out the Wizard is a fraud, and it appears to be like there's no way back to Kansas.

How Do They Overcome? Despite the uncertainty, Dorothy learns to embrace the weird and wonderful land of Oz, and learns a lot from her companions, the Scarecrow, Tin Man, and Cowardly Lion. So, when she finds out she can tap her heels and wish her way back to Kansas, she does so. Once she sees her friends and family again, she realizes that there's truly no place like home.

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Kung Fu Panda

Kung Fu Panda

What Is The Journey? A bumbling panda and kung fu fan, Po is unwittingly selected as the Dragon Warrior, a prophesied hero. However, neither Po nor others believe it to be true.

What Trials Do They Face?  Po is shocked to be named the Dragon Warrior, since he knows he tumbled into a scenario rather than being intentionally selected. He isn't a natural martial artist and struggles under the training of Master Shifu. It also doesn't help that the Furious Five - a group Po adores - don't believe in the poor panda. To make matters worse, the dangerous snow-leopard Tai Lung is on the loose and Po will need to build his skills quickly in order to face him.

How Do They Overcome? Po uses his lovable personality to win over others, while he develops an unorthodox martial arts style. As he progresses and his heart proves to be his greatest strength, he starts to believe in his potential and realizes he is special in his own way.

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Iron Man

What Is The Journey? After escaping evildoers, genius-billionaire-playboy-philanthropist Tony Stark realizes he has used his influence, intelligence, and tech for all the wrong reasons. Now, he plans on using his abilities for the benefit of the world.

What Trials Do They Face? After being captured by terrorists, Tony's heart requires technological intervention from scientist Ho Yinsen to keep on ticking, which acts as both a reminder of the power and danger of his creations. Using a newfound appreciation for life and understanding from Yinsen of how his selfishness caused strife, he needs to learn how to harness all his abilities into fighting the very people he used to do business with. At the same time, he meets resistance from some within his company, like Obadiah Stane, who opposes Stark's desire of ceasing extremely profitable weapons manufacturing.

How Do They Overcome? Tony's cockiness, though initially a flaw, turns out to be his biggest asset, as he refuses to accept the status quo. Redirecting his unrestrained confidence from selfish pursuits towards making the world a better place, he becomes the hero no one believed he could be, putting a stop to Stane's plots to take over Stark Industries sell more and more weapons. In the ultimate showboating act and declaration of defiance, he reveals himself to the world as Iron Man, daring anyone to stop him.

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Batman Begins

Batman Begins

What Is The Journey?  After the death of his parents, Bruce Wayne trains his mind and body to become Gotham City's protector and the scourge of every criminal.

What Trials Do They Face? Due to his family's high profile, Bruce is burdened with carrying on the legacy of the Wayne name and being a public figure. Internally, he harbors a strong desire for justice to eradicate the city's corrupt criminal justice system. Knowing he will need to shed the Wayne name and become something else, Bruce embarks on an arduous journey to learn from the greatest masters as he trains his mind and body as a weapon to fight crime. However, his choice to become a symbol of justice rather than executioner results in his former master, Ra's al Ghul, turning into his enemy and threatening to burn Gotham City.

How Do They Overcome?  As Batman, Bruce honors the code of standing for justice and believing his actions can inspire hope, even when it would be easier snapping necks and putting bullet holes in fiends. Despite the adversity he faces and the limits he is pushed to, he remembers the promise he made on his parents's grave to protect Gotham City, carrying that with him as he embraces his new purpose as Batman.

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Men in Black

Men in Black

What Is The Journey?  After NYPD officer James Darrell Edwards III impresses the mysterious Agent K, he is enlisted into a top-secret organization known as the Men in Black, which is responsible for keeping an eye on extraterrestrial life on Earth.

What Trials Do They Face?  Taking the alias of Agent J, James is thrown into the deep end as he tries to wrap his head around the MIB's rules and dealing with extraterrestrials. K isn't exactly the most fun-loving, friendly mentor, either, so J frequently feels like he's letting himself and everyone else down by not being good enough. Among all this inner turmoil, there is a genuine alien threat to deal with, too, and it's up to J and K to avert a massive inter-species war. 

How Do They Overcome?  J trusts his natural instincts and abilities, while also applying everything he has learned from K to save the day. Ultimately, he discovers that K wasn't training him to be his partner, but his replacement. The student becomes the master in a bittersweet but moving passing-of-the-torch moment.

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Barbie

What Is The Journey? As cracks appear in her seemingly idyllic life in Barbieland, Barbie ventures to the real world to find the child playing with her who is connected to her sudden worries about mortality.

What Trials Do They Face?  Barbie's sense of inadequacy kicks off when she starts to feel imperfect in a perfect world. It causes her to have an existential crisis about who she is and what defines her. This isn't exactly helped when she experiences the harshness of the real world, either. Even once she finds her “child” - who turns out to be an adult woman named Gloria - she needs to evade Mattel corporate employees trying to capture her, and also deal with Ken, who comes to believe that turning Barbieland into a patriarchal society is the only way to bring value to who he is.

How Do They Overcome? Barbie learns it's important to form her own self-identity, embracing the messy parts of life that bring meaning. She also shows compassion and empathy toward Ken and his brethren, encouraging the citizens of Barbieland to treat each other equally and in a way that doesn't devalue anyone else. Finally, after a meeting with Mattel co-founder Ruth Handler, Barbie decides to write her own story and become a human rather than an idea.

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What Is The Journey?  Paraplegic marine Jake Sully infiltrates the Na'vi tribe of the planet of Pandora through the use of an avatar as part of a mission for the Resources Development Administration (RDA). After he spends some time among the tribe, he begins to question his loyalties, especially as he falls in love with a Na'vi named Neytiri.

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STAGES AND ARCHETYPES OF THE HERO’S JOURNEY

Introducing the monomyth.

The Hero’s Journey is a fundamental paradigm of human experience that is frequently the basis for written stories, drama, and film. It was initially described by mythologist Joseph Campbell, who relied in part on the insights of psychologist Carl Jung. The stages and archetypes of the Journey have been developed and applied to film by Christopher Vogler. The writings of these men demonstrate that the Journey is helpful in understanding both fiction and reality.

What follows may be modified and used as a handout or serve as the basis for direct instruction. It is designed to be used with TWM’s Lesson plans on the Hero’s Journey which are listed in the English Language Arts Subject Index .

Most films recommended by TWM for the study of the Journey are not action/adventure movies. This will allow teachers to demonstrate that this structure can be found in any important quest and in all types of stories.

The Hero’s Journey in Life and Art

The human condition requires purposeful effort for any achievement and often for survival. Myths and stories in all cultures contain tales of successful quests through which great achievements have been made. Some are efforts to save an individual or a group; others are missions to protect or transform a community; many are stories of personal growth and development. The protagonists of these successful quests are often called heroes and the tale of their efforts has come to be known as “the Hero’s Journey.” Mythologist Joseph Campbell, who pioneered the study of the Hero’s Journey, referred to it as “the Monomyth” because it appears in all cultures and is basic to what it means to be human.

The origins of the Hero’s Journey/Monomyth are in the earliest beginnings of the human race. Undoubtedly, tales of struggle and triumph were heard around campfires of tribes long forgotten. When starvation had stalked the community, there would be a celebration when hunters returned from the first successful effort after many failures. The hunters would have told the story of the difficulties they had overcome and their eventual triumph. When tribes had been locked in mortal combat and the resolution had been in doubt, the victors would have delighted in recalling the tale of the battle and how they had vanquished the enemy. Those best at telling stories, people who had a way with words or music, would be asked to repeat the tale, again and again, praising those who had saved the community.

When people started to put stories into writing, the first epic poem was The Odyssey, which describes the Hero’s Journey of Odysseus on his quest to return home from the Trojan War. Since that time, stories of the Monomyth have appeared in countless variations, not only in epic poems, but also in novels, comic books, and plays. Movie plots frequently employ versions of the Hero’s Journey.

Joseph Campbell describes the mythical quest in its simplest form:

A hero ventures forth from the world of the common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won; the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.

In life and in fiction, certain stages can be identified in most Hero’s Journeys. These include a starting place, an ordinary world that is somehow deficient or inadequate; a call to action; first steps on the journey; meeting with a mentor; the crisis, a reward, and a return with the result or a prize that corrects the deficiency or inadequacy that launched the quest. Each journey has its unique aspects and not all stories of the Monomyth contain all of the stages of the classic Hero’s Journey. In many situations, some of the stages are combined or occur simultaneously. The order of the steps usually follow in a certain sequence, but not always. Different scholars have described the stages in slightly different ways, but in countless myths and stories, the outline of the Hero’s Journey can be clearly seen.

In addition, stories that manifest the Monomyth contain certain types of characters whose functions relate to the hero’s progress on the Journey. These include not only the hero and the mentor, but also the threshold guardian, the shadow, the trickster, and the shapeshifter. In similar fashion to the stages of the Journey, not all of these characters appear in every Hero’s Journey and in some Journeys functions of different character types are combined in one individual. Because these character types have a structural relationship to the Hero’s Journey and they are parts of the human experience that appear in generation after generation and in story after story, they are called the archetypes of the Hero’s Journey.

The Monomyth can appear in many different types of stories. Adventure tales describe the experiences of heroes as they overcome villains who threaten certain individuals or endanger an entire community. In a romance, one of the characters, or the couple acting together, are on a quest to requite their love and live happily ever after. Sports stories involve the effort of one team or one contestant to triumph over all the others. In tales of personal transformation and growth, people examine their own lives, muster the courage to change, and accept the challenges presented on the path to fulfillment. Each of these types of stories often employ the stages of the Hero’s Journey.

One reason that the Monomyth has endured is that it matches the way in which many events actually occur: it illustrates how human beings on an important quest interact with their environment and with other people. Each person will at certain times in life perform different versions of the Hero’s Journey or they will see others do it. Some people will go on a quest to make a difference in society; most people will, at times, serve as the hero for a quest that is important to their family, their school, a friend, or themselves. One example of the Hero’s Journey, which has been undertaken by millions of people will be explored in detail in detail in this essay. It is the journey of an alcoholic or a drug addict who decides to take control of life and stop using drugs.

Stages of the Hero’s Journey

Set out below is a description of the stages of the Hero’s Journey developed for screenwriters by Hollywood story consultant Christopher Vogler in his book, The Writer’s Journey: Mythic Structure for Writers, 3rd Edition. Vogler’s work is based on the stages of the Monomyth developed by Joseph Campbell.

Note that: Vogler’s formulation of the Hero’s Journey is not the classic mythical journey in which there is repeated divine intervention and a meeting with the goddess. Vogler’s version is updated for modern sensibilities and reflects the contemporary view of life. It has been adopted by TWM because it has direct relevance to the stories told in film and, quite often, to quests undertaken by people living in modern times. Note also that while Vogler’s work has been in movie-making, the insights in his book apply to any work of fiction.

The stages of the Hero’s Journey can be separated into three sections. The first consists of the expository phase of the story. The second unfolds the complications and the crisis which describe the Hero’s struggle and provide the action in the story. The third section concludes the journey with resolution and denouement.

SECTION ONE — Introduction to Setting, Characters, and Conflict

1. The Ordinary World: This is the setting with which the protagonist is familiar, the life experienced before the quest. There will probably be many loved ones and the comfort of familiarity in the Ordinary World. However, in some way it is unstable or dissatisfying for the protagonist of the mission described in the story; either the Ordinary World has changed or the hero-to-be comes to feel the need for change due to some internal conflict or realization. In some tales that express the Monomyth, the Ordinary World has been destroyed or made uninhabitable by an outside force and the protagonist has no choice but to start on the journey to find a new life. In other stories, the Ordinary World still exists and often exerts a strong influence pulling the protagonist back from the challenges of the quest. In the classic Hero’s Journey, a victorious hero returns to the Ordinary World bringing back objects: the hunter brings food and the victor brings the spoils of war. In other Journeys there is no return to the Ordinary World and the successful hero lives in a new world that is better than the old. This also occurs in quests of personal growth in which a character seeks to resolve contradictions in his or her personality or overcome an emotional challenge, such as grief from the loss of a loved one.

The journey of an alcoholic/addict from addiction to sobriety is an example of a Hero’s Journey. Like all examples of the Monomyth, in life or in fiction, it has its unique aspects. For example, the journey of the recovering alcoholic/addict continues through the life of the individual and has no final conclusion. This contrasts sharply with most Hero’s Journeys, such as those of a hunt to bring food back to the starving clan or the tale of an athlete who wins a medal at the Olympics. However, most stages of the Monomyth are clearly evident in an alcoholic/addict’s road to recovery.

The Ordinary World of alcoholics and drug users are the days, months and years before they decide to quit. For an alcoholic/addict the ordinary world is one in which the drug controls most actions. It is a time of lying, cheating and stealing to support the habit. It is a time in which the alcoholic/addict manipulates loved ones to support the habit or avoid the consequences of an intoxicated life. It is a time of failing to meet responsibilities and in a fundamental way, it is a time of being isolated and alone. For many heroes the comfort and familiarity of the Ordinary World calls to them during their journey, and that is certainly true for alcoholics/addicts. Many recovering alcoholics and drug abusers never lose the urge for their intoxicant of choice.

2. The Call to Adventure: The call to adventure can take many forms, but it always pulls the protagonist away from the Ordinary World into a new situation. The Call to Adventure may be something that the hero-to-be voluntarily accepts or it may be an event which compels the journey, leaving the protagonist no choice but to embark on the journey.

For many heroes there is one call to adventure that sets them on the Journey. For alcoholics/addicts, there are usually many calls to change their lifestyle. For those who become the heroes of their own journey to sobriety, there is a Call to Adventure that finally sends them on their journey. Recovering alcoholics/addicts call this “hitting bottom.” That’s the time when the alcoholic/addict realizes that to continue drink alcohol or use drugs is intolerable. Some come to understand that they will actually die unless they stop. Some, who drive drunk, realize that they will probably kill someone else as well. For others, it’s the knowledge that continuing as an alcoholic/addict will destroy their relationship with their children or other people whom they love.

3. Refusing the Call: At one point (or on many occasions) the potential hero feels the pull of the familiar comforts of the Ordinary World and resists going on the adventure. After all, every quest carries with it the risk of failure and some Journeys are downright dangerous.

There are many alcoholics/addicts who relapse and after hitting bottom, start to use alcohol or drugs again. This is the equivalent of Refusing the Call to the adventure of their personal Hero’s Journey to sobriety. Some of them can rebound from this set back and continue on with their quest; others are lost.

4. Meeting with the Mentor: A Mentor is a guide or a teacher who will help the hero-to-be gather the courage, find the right path, or pass the tests required for successful completion of their mission. The meeting with the Mentor can come at any point in the Hero’s Journey.

Mentorship is so important for recovering alcoholics/addicts that everyone who enrolls in Alcoholics Anonymous is assigned a sponsor, a person to whom they can go for support and who will answer questions about the process of recovery. The same is true in many treatment programs for alcohol or drug addiction. The sponsor is the mentor for the recovering alcoholic/addict. Of course, alcoholics/addicts can also find people outside of AA or their treatment program to serve as mentors.

5. Crossing the First Threshold: This is the point at which there is no turning back without an admission that the protagonist is not to be a hero. Crossing the first threshold can be a voluntary, considered action or it can be an external event which launches the protagonist on the quest.

For most alcoholic/addicts, Crossing the First Threshold is entering treatment or attending the first AA meeting and committing themselves to join the program. For the very few people who can rid themselves of addiction without AA or a treatment program, Crossing the First Threshold is the first time they put down a drink or a syringe, the first time they reject a line of cocaine, with a personal commitment to stop using drugs and reform their life. However, alcoholics/addicts can always start their quest again, and in this way, the turning back is not a permanent admission that they will not be a hero. In this way, the journey of an alcoholic/addict to sobriety differs from the classic Hero’s Journey.

SECTION TWO — Action, Climax, Triumph

6. Tests, Allies, and Enemies: In most important quests there will be obstacles to overcome and challenges to meet; on most, there will be allies to assist the protagonist toward the goal. There may also be enemies seeking to obstruct the way. Enemies may also be aspects of nature or a part of the protagonist’s psyche. In both film and literature, these elements of the Journey provide the action, provoke interest, and serve as complications on the path to the goal.

Many alcoholic/addicts never lose the desire for intoxication; every day they must resist the urge to relapse. In AA there is a saying that recovery occurs one day at a time; every day is a test for the heroes of their own journeys to sobriety. There are also special challenges, as when, at a party, someone mistakenly hands a drink with alcohol to the person in recovery. Another test may occur during a time of emotional distress when the desire to escape and numb reality becomes especially strong. There are allies on the road of recovery, such as family and friends who provide support as well as other members of AA. There are also enemies, such as friends who still drink or use drugs and who want to include the recovering alcoholic/addict in their intoxicated experiences.

7. Approach to the Inmost Cave: This is the turning point, the moment in which the protagonist seems to realize completely what must be done and to accept all accompanied risks including the possibility of failure. In some stories, failure means death. The Approach to the Inmost Cave is an essential element in most stories describing a quest. It reveals the fact that the hero-to-be is operating with full awareness of the consequences of failure.

There comes a time when the alcoholic/addict is well launched on sobriety and realizes the extent to which their life has changed and will change forever. This occurs when people in recovery fully accept that they will never again enjoy the intoxication of the drug, something that is desperately desired and physically craved. It comes when they understand that all aspects of the intoxicated life are being left behind. But there are also the benefits of recovery which beckon and the alcoholic/addict must choose. In recovery from alcoholism/addiction, this stage may come after the Ordeal, while in most Hero’s Journeys in which there is a specific challenge that has to be overcome, this stage comes just before the Ordeal. “Hitting bottom” could also be seen as the Approach to the Inmost cave, but this occurs early in the process and is more like the Call to Action.

8. Ordeal: The climax, or the peak experience in the adventure, appears in virtually all stories. The hero-to-be faces the moment of truth: will he or she prevail in the struggle with the enemy?

For a person entering recovery from alcoholism/addiction, the most intense times often occur early on, when the body’s physical desire for the drug is the most intense. However, given the nature of recovery from alcoholism and drug addiction, the moment of truth can be said to reoccur occasionally throughout the life of an alcoholic/addict, or even every day. As they say, for many alcoholic/addicts it’s one day at a time.

9. Reward: The payoff for the protagonist’s struggle may be as simple as survival or it may involve fantastic riches or symbolic prizes that make the experience worthwhile. The Reward may be personal growth, self-knowledge, or the reconciliation of conflicting parts of the personality.

The payoff for a recovering alcoholic/addict is a life without addiction and all that this means for a better quality existence. For many, it means avoiding death, because the alcoholism/drug addiction would have killed them. Many alcoholics stopped maturing emotionally on the day they started to drink, usually as a teenager. When they had a problem in life, instead of dealing with it and learning what was necessary for growth and development, they just took several drinks or a hit from the drug. Many alcoholics/addicts report that when they went into recovery, they were back at the age when they began their intoxicated lifestyle. Recovery allows them to experience growth to maturity, with all of its challenges and rewards.

SECTION THREE — Resolution and Denouement

10. The Road Back: Returning to the ordinary world can be a difficult journey in itself and may offer additional risks for the adventuring protagonist, who is still not yet a hero. Some will be able to negotiate the Road Back and some will not: the hunter bringing the kill back to the village may be set upon by a pack of wolves who steal the hard won prey. For those protagonists who do not successfully pass this stage, the quest ends in failure; they never become heroes.

The road back for a recovering alcoholic/addict can be seen as the rest of their life. In the alternative, it can be said that this stage is absent in this version of the Hero’s Journey.

11. Resurrection: At this point, the protagonist, now a Hero, becomes transformed by the experience of the quest into a new, or at least a better, person.

An alcoholic/addict committed to recovery is a transformed person.

12. Return with the Elixir: In stories in which the Ordinary World still exists, upon re-entering that world, the Hero shares with those who stayed behind the prize won on the adventure. The Elixir shared can be abstract, such as love, or it can be concrete, such as something the group needs in order to survive or prosper. When the Ordinary World no longer exists or the Hero cannot, for some reason, return to the Ordinary World, the Hero will share the Elixir with those who accompanied him or her on the quest or those who inhabit the new world in which the victorious Hero will live. In journeys of personal growth and development, the Elixir is the new realization that the Hero has about life or about the self. The last two or three stages are often combined, especially in journeys of personal growth and development.

The Elixir for the recovering alcoholic/addict is the understanding that a sober life is better than an intoxicated life.

Archetypes in Life and Art

Certain character types and their structural relationships with others in family and community are parts of the human experience that repeat again and again. The functions of the father, the mother, the child, the hero, the mentor, and the trickster are found in most cultures and are timeless. People can take on different roles multiple times during their lives and they will change roles depending upon the situations in which they find themselves. For example, a person may be on a quest in one aspect of life and therefore take on the function of the hero, while at another time or in a different set of circumstances, the same person may function as a mentor for someone else’s quest. People can take on different roles in different situations and at different times. People are children in relation to their parents and later they are parents to their own children. As parents age, they become more child-like and their children take on the role of parent. People can take on more than one function at the same time. For example, every parent takes on different aspects of the mother (nurturing) and of the father (stern and judging); that is, aspects of both the mother and the father usually exist in varying degrees in any parent; and the relative strength of the different roles changes over time and as the situation changes.

Character types which have persisted over centuries and across cultures are called archetypes. The concept of archetypes is derived from the work of Swiss psychologist Carl Jung who theorized that people are born with a psychic inheritance, a collective unconscious, which affects all of human experience. Jung believed that this knowledge lies in our unconscious mind and can only be accessed indirectly through dreams, myths, forms of religious belief, and the arts, such as written fiction, movies, visual arts, music, and dance. It may be the Jung was correct or it may be that people learn about archetypes as children because there are certain basic ways in which human beings relate to each other in societies, in families, and in personal relationships. Whatever the source of the knowledge, the concept of archetype helps to organize and clarify human experience. As such, archetypes are an important part of understanding life and telling a story, whether in written form or presented on stage or screen.

Another way to look at archetypes is that they embody energies in the psyche that seek to fulfill a function in life and in story. Thus, one character can provide the energy to nurture, another the impetus to quest, a third the desire to the mentor, while a fourth provides the force of a leader, etc. The mother archetype nurtures, the father archetype judges, and the mentor archetype gives sage advice, etc. A person functions as a hero when engaging in purposeful effort, for example, putting a man on the moon or a journey of personal growth. The effort could be as simple as going on a trip and as mundane as learning to fit in when starting at a new school or asking a girl to go out on a date.

Every school contains character types that have existed for as long as we have had schools and which can be considered archetypes. The bully, the sports jock, the nerd, the class clown, and the teacher’s pet are examples. Centuries ago, the bully pattern of personality would have been evident in the powerful hunter or warrior who used his strength to dominate and hurt others. The characteristics of a bully contrast with those of a true leader, another archetype, who uses intelligence, knowledge, or the power of personality to take care of his people. And although math or science as fields of study are rather new in the long history of mankind, certainly there were members of ancient societies who involved themselves with numbers and were devoted to the accuracy of exchange, the measurement of distances, and even the passage of time. There have always been court jesters and comedians, and, of course, an individual favored by a person with power. Each of these functional types have recognizable expressions in school society.

While each archetype has its own constellation of attributes which most people recognize, everyone who functions as an archetypal character, in life and in story, will also have unique characteristics depending upon their culture, their own personality, and the situation. Dorothy Gale of The Wizard of Oz is a true heroine who defeats formidable adversaries on her journey. However, Dorothy, as required of a female by her culture, her time and her story, is always kind and considerate. While she kills the wicked witches of the East and the West as thoroughly as any action/adventure hero vanquishes a villain, Dorothy always kills by accident and without an intent to harm.

Joseph Campbell, the mythologist, refers to archetypes as elementary ideas and asserts that anthropologists and archeologists can account for the differences in the archetypes in mythologies across the globe as responses to environmental factors. In stories, the use of archetypes builds an empathic reaction as each reader or viewer sees many familiar aspects of characters who take on the archetypal roles. There is universal appeal when protagonists, antagonists, and ancillary characters exhibit aspects of various archetypes.

Archetypes of the Hero’s Journey – Characters of the Monomyth

There are certain archetypes which are often associated with the Hero’s Journey; their functions relate to the conduct of a quest. The following description of the archetypes of the Hero’s Journey are brief summaries derived from Christopher Vogler’s book. Mr. Vogler based his analysis on the ideas of psychologist Carl Jung and mythologist Joseph Campbell. Note that these summaries are an attempt to briefly describe complex personality patterns; they are necessarily incomplete.

1. The Hero is the person who embarks on the quest seeking to correct an imbalance in community, family, or psyche. For journeys of internal growth or reformation, the hero searches for the true self in its wholeness. The Hero can be willing or unwilling and can be acting on a matter which concerns society as a whole, relates to a specific group of people, or is personal to the Hero. The Hero can act alone or as the leader of a group.

2. A Mentor is an important individual, who transmits encouragement, understanding and wisdom to the Hero. The Mentor can simply give helpful advice or the mentor may also intervene and help the Hero surmount the challenges of the particular quest.

3. Threshold Guardians are characters who serve to challenge or obstruct the Hero’s progress from one stage of the Journey to another. They stand at the gateways to new experiences; their role is to keep the unworthy from continuing on the Journey. The Hero must prove his or her worthiness in some way, often by defeating and killing the Threshold Guardian or by passing some test.

4. A Herald issues challenges and announces the coming of significant change. The Herald is the voice demanding change and providing motivation for the protagonist to get on with the journey.

5. Shapeshifters , as seen from the Hero’s point of view, appear to change their form. The change may be in appearance, in mood, or in function with respect to the quest. For example, the Hero may have a romantic interest in a person who is fickle or two-faced. That person is a Shapeshifter.

6. The Shadow is a character who reflects or represents the dark, unexpressed, or rejected aspects of something, often a part of the Hero’s personality. A shadow character has the function of presenting the allure of qualities that a person must renounce and root out in order to successfully complete the quest.

7. The Trickster who sometimes supplies comic relief in a story, is nonetheless important as a catalyst for change and can sometimes be a Hero in his or her own right. Tricksters are also often Shapeshifters.

Some Other Important Literary Archetypes

Some of the archetypes identified by Carl Jung that are frequently found in the literature are summarized below.

1. The Father: Jung saw the authority figure as a powerful, serious-minded father, stern and judging. Usually, a character manifesting this archetype is male, but not always.

2. The mother: The individual who represents nurturing and caregiving is the Mother archetype. Often a character manifesting this archetype is female, but not always. Mentors often nurture and they are often male.

3. The Child: This archetype represents the innocence and potential for growth of children, who, with their honesty, pure-mindedness, and drive for growth and development offer salvation to errant adults. The Child Savior is a subset of this archetype. See TWM’s The Child Savior: An Example of a Literary Archetype.

4. The Maiden: Like the child, the maiden represents innocence and pure intention but has the added element of female sexual possibility and transition to another female archetype such as the Mother.

These archetypes may be found in many stories, including stories of the quest. They differ from the archetypes of the Hero’s Journey only because their function does not necessarily assist in reaching the resolution of a story of purposeful effort.

The Hero’s Journey/Monomyth is basic to the human experience. Jung, Campbell, and Vogler have shown that the stages of the Hero’s Journey correspond to what actually occurs in life. They have demonstrated that archetypes, assembled and reassembled in life and in stories, remain faithful to truths about human existence throughout time. The Hero’s Journey analysis assists in discovering the elemental messages of myth, drama, literature, and film. The Journey assists in understanding inner meaning and clarifying theme. In life, knowledge of the stages and archetypes of the successful quest will help people organize and understand their own experience.

Bibliography

  • The Writer’s Journey: Mythic Structure for Writers, 3rd Edition, by Christopher Vogler;
  • The Power of Myth by Joseph Campbell with Bill Moyers;
  • The Hero with a Thousand Faces by Joseph Campbell; The quotation beginning “The hero ventures forth . . . ” is from page 23;
  • The Archetypes and The Collective Unconscious (Collected Works of C.G. Jung Vol.9 Part 1).

This article was written by Mary RedClay and James Frieden for TeachWithMovies.org.

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Monomyth or "The Hero's Journey" in Movies

Basic patern found in lots and lots of myths and (thus) movies. Described by Joseph Campbell in "The Hero with a Thousand Faces" as the monomyth. The 17 Stages of the Monomyth: Separation (or Departure) 1. The Call to Adventure 2. Refusal of the Call 3. Supernatural Aid 4. Crossing the Threshold 5. Belly of the Whale Initiation 6. The Road of Trials 7. The Meeting with the Goddess 8. Woman as Temptress 9. Atonement with the Father 10.Apotheosis 11.The Ultimate Boon Return 12.Refusal of the Return 13.The Magic Flight 14.Rescue from Without 15.The Crossing of the Return Threshold 16.Master of Two Worlds 17.Freedom to Live The 12 Stages of the The Hero's Journey: 1. THE ORDINARY WORLD. The hero, uneasy, uncomfortable or unaware, is introduced sympathetically so the audience can identify with the situation or dilemma. The hero is shown against a background of environment, heredity, and personal history. Some kind of polarity in the hero’s life is pulling in different directions and causing stress. 2. THE CALL TO ADVENTURE. Something shakes up the situation, either from external pressures or from something rising up from deep within, so the hero must face the beginnings of change. 3. REFUSAL OF THE CALL. The hero feels the fear of the unknown and tries to turn away from the adventure, however briefly. Alternately, another character may express the uncertainty and danger ahead. 4. MEETING WITH THE MENTOR. The hero comes across a seasoned traveler of the worlds who gives him or her training, equipment, or advice that will help on the journey. Or the hero reaches within to a source of courage and wisdom. 5. CROSSING THE THRESHOLD. At the end of Act One, the hero commits to leaving the Ordinary World and entering a new region or condition with unfamiliar rules and values. 6. TESTS, ALLIES AND ENEMIES. The hero is tested and sorts out allegiances in the Special World. 7. APPROACH. The hero and newfound allies prepare for the major challenge in the Special world. 8. THE ORDEAL. Near the middle of the story, the hero enters a central space in the Special World and confronts death or faces his or her greatest fear. Out of the moment of death comes a new life. 9. THE REWARD. The hero takes possession of the treasure won by facing death. There may be celebration, but there is also danger of losing the treasure again. 10. THE ROAD BACK. About three-fourths of the way through the story, the hero is driven to complete the adventure, leaving the Special World to be sure the treasure is brought home. Often a chase scene signals the urgency and danger of the mission. 11. THE RESURRECTION. At the climax, the hero is severely tested once more on the threshold of home. He or she is purified by a last sacrifice, another moment of death and rebirth, but on a higher and more complete level. By the hero’s action, the polarities that were in conflict at the beginning are finally resolved. Further reading: http://herojourneyfilm.blogspot.nl/ 12. RETURN WITH THE ELIXIR. The hero returns home or continues the journey, bearing some element of the treasure that has the power to transform the world as the hero has been transformed.

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  • Release Year

1. O Brother, Where Art Thou? (2000)

PG-13 | 107 min | Adventure, Comedy, Crime

In the deep south during the 1930s, three escaped convicts search for hidden treasure while a relentless lawman pursues them.

Directors: Joel Coen , Ethan Coen | Stars: George Clooney , John Turturro , Tim Blake Nelson , John Goodman

Votes: 329,371 | Gross: $45.51M

1. Everett, Pete and Delmar escape from the chain gang 2. 3. Blind railwayman offers them a prophecy (=Tireseas in Homer) 4. Trio visits cousin Washington’s farm 5. Trio trapped in burning barn by Sheriff 6. Encounters with Big Dan (=Cyclops in Homer) and Baby Face Nelson 7. The meeting with Penny (Penelope), Everett’s wife, later in the film 8. The sirens tempt our heroes, turn Pete into a frog? (=Circe in Homer) 9. 10.Trio records song “Man of Constant Sorrow” as Soggy Bottom Boys 11.Supposedly bank heist money, but really Penny and 7 Wharvey gals 12. 13.The rescue of Tommy from the Klan, escape from angry Klansmen 14.Governor Menelaus “Pappy” O’Daniel pardons trio after song 15.Caught by Sheriff, about to be hung, saved by the Great Flood (cow on roof) 16.“Ulysses” freed from prison and gets his family back 17.“Ulysses” is free to live a normal life

2. Star Wars: Episode IV - A New Hope (1977)

PG | 121 min | Action, Adventure, Fantasy

Luke Skywalker joins forces with a Jedi Knight, a cocky pilot, a Wookiee and two droids to save the galaxy from the Empire's world-destroying battle station, while also attempting to rescue Princess Leia from the mysterious Darth Vader.

Director: George Lucas | Stars: Mark Hamill , Harrison Ford , Carrie Fisher , Alec Guinness

Votes: 1,442,323 | Gross: $322.74M

1. Princess Leia's message 2. Must help with the harvest 3. Obi-wan rescues Luke from sandpeople 4. Escaping Tatooine 5. Trash compactor 6. Lightsaber practice 7. Princess Leia 8. Luke is tempted by the Dark Side 9. Darth and Luke reconcile 10.Luke becomes a Jedi 11.Death Star destroyed 12.Luke wants to stay to avenge Obi-Wan 13.Millennium Falcon 14.Han saves Luke from Darth Vader 15.Millennium Falcon destroys pursuing TIE fighters 16.Victory ceremony 17.Rebellion is victorious over Empire

3. Star Wars: Episode V - The Empire Strikes Back (1980)

PG | 124 min | Action, Adventure, Fantasy

After the Rebels are overpowered by the Empire, Luke Skywalker begins his Jedi training with Yoda, while his friends are pursued across the galaxy by Darth Vader and bounty hunter Boba Fett.

Director: Irvin Kershner | Stars: Mark Hamill , Harrison Ford , Carrie Fisher , Billy Dee Williams

Votes: 1,372,057 | Gross: $290.48M

1. 2. 3. the spirit of Obi-Wan Kenobi 4. escape from Hoth 5. hiding in the astroid field 6. Luke's training 7. going to Cloud City meeting Lando Calrissian 8. Lando's betrayal 9. "No, I am your Father" 10.Luke and Vader engage in a lightsaber duel 11. 12. 13.fleeing from Cloud City 14.Luke telepathic plea to Leia and picking up 15. 16. 17.

4. Star Wars: Episode VI - Return of the Jedi (1983)

PG | 131 min | Action, Adventure, Fantasy

After rescuing Han Solo from Jabba the Hutt, the Rebels attempt to destroy the second Death Star, while Luke struggles to help Darth Vader back from the dark side.

Director: Richard Marquand | Stars: Mark Hamill , Harrison Ford , Carrie Fisher , Billy Dee Williams

Votes: 1,115,535 | Gross: $309.13M

1. droids on Tatooine 2. bickering of C-3PO 3. Luke's arrival 4. Escaping Jabba 5. Jabba's palace 6. mission on the forest moon of Endor 7. Leia reveals to Han that Luke is her brother/ Vader discovers that Luke has a sister 8. The Emperor tempts Luke to give in to his anger and join the dark side of the Force 9. removing the mask and funeral pyre 10.final duel and space battle 11.Balance to the Force 12.Luke wants to stay with his father 13.space battle 14.destruction of the shield generator 15.blowing up the second Death Star 16.Victory ceremony 17.Rebellion is victorious over Empire

5. The Lord of the Rings: The Fellowship of the Ring (2001)

PG-13 | 178 min | Action, Adventure, Drama

A meek Hobbit from the Shire and eight companions set out on a journey to destroy the powerful One Ring and save Middle-earth from the Dark Lord Sauron.

Director: Peter Jackson | Stars: Elijah Wood , Ian McKellen , Orlando Bloom , Sean Bean

Votes: 1,994,353 | Gross: $315.54M

1. Gandalf acts as the herald who gives Frodo his mission to destroy the One Ring. Aragorn, in a separate hero's journey, is told by Elrond of his true name and lineage as the Heir of Isildur and rightful heir to the throne of Gondor when he is 20 years of age. 2. Frodo is unwilling to set out on an adventure. 3. Frodo and Sam Gamgee receive help early in their journey from several figures, notably Tom Bombadil, Bilbo and Gandalf. 4. Frodo finally accepts his mission in Rivendell and crosses the threshold once he leaves there. Also in Rivendell, Aragorn meets Boromir who tells of the plight that Gondor is now in while at the same time confronting those present for not aiding Gondor; Aragorn sees that he must now save Gondor and claim the kingship. 5. The Fellowship passes through the abandoned mines of Moria. 6. The road to Mordor (mostly in the following two movies: Uruk-Hai, The Dead Marshes, Shelob, the weight of the ring) 7. Frodo meets Galadriel, who shows him the future. Aragorn also meets Galadriel, who counsels him on his future actions 8. Frodo is tempted to give the Ring to Galadriel and forsake his mission. 9. Aragorn must face the legacy of his ancestor Isildur, by rising above the darkness where he failed. Aragorn directly faces this legacy most clearly when he decides to ride the Paths of the Dead and gain the allegiance of the Army of the Dead, a feat which only the true Heir of Isildur can perform. 10. Aragorn, after exiting the Paths of the Dead with his new invincible Shadow Army, must now make a mad dash across Gondor in a race against time to liberate the coast from an invasion of Corsairs, then lead the Southern army of Gondor north to save Minas Tirith from destruction, all in only six days. 11.All of the hobbits gain wisdom and experience during their journey which allows them to easily set things right in the Shire on their return. By calling upon his heritage as the Heir of Isildur to take command of the Army of the Dead, Aragorn is now more in tune with his true nature and purpose as rightful heir to the throne of Gondor than ever before. 12.Frodo chooses to leave Middle Earth with the elves, because he feels he is unable to have a normal life in the Shire. 13.Frodo and Sam are rescued from the slopes of Mount Doom by Gandalf and the Eagles (which is also a "Rescue from Without"). 14.Frodo is ultimately unable to destroy the Ring without Gollum's unwilling help. 15.The final threshold for the hobbits re-entering the Shire is guarded by Saruman and his Ruffians. For Aragorn, this means making a final confrontation with Sauron's forces in a suicidal attack on his massive army at the Black Gate. 16.Aragorn is crowned King of Gondor and Arnor, and has defeated Mordor (later re-destributing its conquered lands to the former slaves that tilled the fields in its southern regions). Aragorn then marries Arwen, daughter of his father-figure Elrond, uniting the worlds of Elf and Man. Finally, Aragorn finds a new sapling of the White Tree of Gondor, and Gandalf informs him that he is now leaving Middle-earth now that Sauron is defeated: Gandalf now officially "passes the torch" of responsibility for protecting Middle-earth and its peoples from himself on to Aragon and his descendants. 17.The hobbits become prominent citizens of the Shire with the wisdom they have gained. Aragorn reigns as King for many decades and ushers in a new age of peace and the rebuilding of Middle Earth. He then starts a family with Arwen, his Queen.

6. The Lord of the Rings: The Two Towers (2002)

PG-13 | 179 min | Action, Adventure, Drama

While Frodo and Sam edge closer to Mordor with the help of the shifty Gollum, the divided fellowship makes a stand against Sauron's new ally, Saruman, and his hordes of Isengard.

Director: Peter Jackson | Stars: Elijah Wood , Ian McKellen , Viggo Mortensen , Orlando Bloom

Votes: 1,772,681 | Gross: $342.55M

7. The Lord of the Rings: The Return of the King (2003)

PG-13 | 201 min | Action, Adventure, Drama

Gandalf and Aragorn lead the World of Men against Sauron's army to draw his gaze from Frodo and Sam as they approach Mount Doom with the One Ring.

Director: Peter Jackson | Stars: Elijah Wood , Viggo Mortensen , Ian McKellen , Orlando Bloom

Votes: 1,966,284 | Gross: $377.85M

8. The Matrix (1999)

R | 136 min | Action, Sci-Fi

When a beautiful stranger leads computer hacker Neo to a forbidding underworld, he discovers the shocking truth--the life he knows is the elaborate deception of an evil cyber-intelligence.

Directors: Lana Wachowski , Lilly Wachowski | Stars: Keanu Reeves , Laurence Fishburne , Carrie-Anne Moss , Hugo Weaving

Votes: 2,039,400 | Gross: $171.48M

1. Follow the white rabbit 2. Neo won't climb out window 3. Trinity extracts the bug from Neo 4. Neo is taken out of the Matrix for the first time 5. Torture room 6. Sparring with Morpheus 7. The Oracle 8. Cypher is tempted by the world of comfortable illusions 9. Neo rescues and comes to agree with his father-figure, Morpheus 10.Neo becomes The One 11.Humanity's salvation now within reach 12.Neo fights agent instead of running 13."Jacking in" 14.Trinity saves Neo from agents 15.Neo fights Agent Smith 16.Neo's declares victory over machines in final phone call 17.Humans are victorious over machines

9. The Matrix Reloaded (2003)

R | 138 min | Action, Sci-Fi

Freedom fighters Neo, Trinity and Morpheus continue to lead the revolt against the Machine Army, unleashing their arsenal of extraordinary skills and weaponry against the systematic forces of repression and exploitation.

Votes: 627,550 | Gross: $281.49M

10. The Matrix Revolutions (2003)

R | 129 min | Action, Sci-Fi

The human city of Zion defends itself against the massive invasion of the machines as Neo fights to end the war at another front while also opposing the rogue Agent Smith.

Votes: 541,012 | Gross: $139.31M

11. The Silence of the Lambs (1991)

R | 118 min | Crime, Drama, Thriller

A young F.B.I. cadet must receive the help of an incarcerated and manipulative cannibal killer to help catch another serial killer, a madman who skins his victims.

Director: Jonathan Demme | Stars: Jodie Foster , Anthony Hopkins , Scott Glenn , Ted Levine

Votes: 1,538,577 | Gross: $130.74M

1. Clarice Starling is pulled from her training at the FBI Academy 2. 3. Hannibal Lecter gives Agent Starling many psychological weapons. 4. Agent Starling must enter not only Lecter's hospital, guarded by the semen-flinging guardian, but also the second threshold of the sealed storage facility Lecter directs her to. 5. Starling finds the serial killer Buffalo Bill's first victim within the dark, womblike storage facility. 6. Starling must deal with sexism and her own fear while investigating Buffalo Bill. 7. Buffalo Bill kidnaps a senator's daughter and the female senator initially appears as a benevolent, matriarchal force 8. Starling's offer of a reduced sentence for Hannibal Lecter, supposedly authorized by the senator, is revealed as a trick. 9. Starling comes to terms with the death of her father through Hannibal Lecter. 10.After atonement, Starling gains knowledge from Lecter and must challenge Buffalo Bill on her own. 11.Starling graduates into an agent, her psychological forces balanced despite Lecter's escape. 12. 13. 14. 15. 16. 17.

12. The NeverEnding Story (1984)

PG | 102 min | Adventure, Drama, Family

A troubled boy dives into a wondrous fantasy world through the pages of a mysterious book.

Director: Wolfgang Petersen | Stars: Noah Hathaway , Barret Oliver , Tami Stronach , Gerald McRaney

Votes: 155,895 | Gross: $20.16M

1. Bastian is interested at the idea of neverending story and “borrows” the book, while the book, Atreyu is summoned to save Fantastica from The Nothing. 2. Cairon the centaur refuses to believe that Atreyu is a young boy, not a full grown warrior. Later Bastian refuses to help because he’s afraid that the characters in the book will mock him for his appearance like the children at school, and is forced to go when the Old Man of Wandering Mountain puts him in the Circle of Eternal Return. 3. Falkor 4. The walk through the Swamps, 5. Bastian finds himself in Perilin, the night Forest 6. The trials 7. Bastian meets The Childlike Empress, while Atreyu her and the southern Oracle. 8. Xayide tempts Bastian into trying to become the Childlike Emperor and abandon his friends. Similarly, a majority of the citizens of Fantastica, now rendered hopeless, give in to the temptation of jumping into The Nothing. 9. Bastian brings the Water of Life to help both him and his father get over his mother’s death. 10.Atreyu kills Gmork with a stone knife. 11.Water of Life 12.Bastian refuses to return to the Human World, being caught up in Fantastica. 13.Bastian takes the Water of Life and runs through Auryn to return home. 14.Bastian and Falkor chase the bullies 15.Bullies in the real world 16.Fantastica/Human World 17.Bastian feels more confident when he returns, and prepares to help other humans reach Fantastica.

13. Contact (1997)

PG | 150 min | Drama, Mystery, Sci-Fi

Dr. Ellie Arroway, after years of searching, finds conclusive radio proof of extraterrestrial intelligence, sending plans for a mysterious machine.

Director: Robert Zemeckis | Stars: Jodie Foster , Matthew McConaughey , Tom Skerritt , John Hurt

Votes: 291,811 | Gross: $100.92M

1. "Dad, could we talk to Mom?" (inner calls to adventure) 2. refuses to deal with the death of her parents 3. S.R. Hadden 4. first contact 5. repress any inner acceptance of her parents deaths 6. financial rejection and Drumlin 7. Palmer Joss 8. Palmer Joss 9. Vegan Father 10.Ellie's arrival at Vega 11.spiritual wisdom 12.Refusal to leave Vega 13.rapid return back through the wormhole 14.video camera s 15.post-event hearing in the U.S. Capitol building 16.She can now balance rational, masculine logic with intuitive, feminine wisdom. 17.She now is the eye of the universe.

14. The Hobbit: An Unexpected Journey (2012)

PG-13 | 169 min | Adventure, Fantasy

A reluctant Hobbit, Bilbo Baggins, sets out to the Lonely Mountain with a spirited group of dwarves to reclaim their mountain home, and the gold within it from the dragon Smaug.

Director: Peter Jackson | Stars: Martin Freeman , Ian McKellen , Richard Armitage , Andy Serkis

Votes: 869,010 | Gross: $303.00M

1. Gandalf's aim is to recruit Bilbo as the company's "burglar" to aid them in their quest to enter the Lonely Mountain 2. Bilbo is unwilling to accept at first 3. Gandalf 4. Leaving The Shire 5. captured by Goblins

15. The Hobbit: The Desolation of Smaug (2013)

PG-13 | 161 min | Adventure, Drama, Fantasy

The dwarves, along with Bilbo Baggins and Gandalf the Grey, continue their quest to reclaim Erebor, their homeland, from Smaug. Bilbo Baggins is in possession of a mysterious and magical ring.

Director: Peter Jackson | Stars: Ian McKellen , Martin Freeman , Richard Armitage , Ken Stott

Votes: 701,502 | Gross: $258.37M

6. giant spiders, Wood-elves 7. Beorn the skin-changer 8. Smaug

16. The Hobbit: The Battle of the Five Armies (2014)

PG-13 | 144 min | Adventure, Fantasy

Bilbo and company are forced to engage in a war against an array of combatants and keep the Lonely Mountain from falling into the hands of a rising darkness.

Director: Peter Jackson | Stars: Ian McKellen , Martin Freeman , Richard Armitage , Cate Blanchett

Votes: 568,445 | Gross: $255.12M

9. Bilbo sneaks out of Erebor to hand the Arkenstone over to Thranduil and Bard 10.battle with smaug/ battle of the five armies 11.destroying Azog and his army/the one ring 12. 13. 14. 15.reclaims his house 16."not the same hobbit" 17.a quite life in the Shire

17. Jaws (1975)

PG | 124 min | Adventure, Mystery, Thriller

When a killer shark unleashes chaos on a beach community off Cape Cod, it's up to a local sheriff, a marine biologist, and an old seafarer to hunt the beast down.

Director: Steven Spielberg | Stars: Roy Scheider , Robert Shaw , Richard Dreyfuss , Lorraine Gary

Votes: 655,673 | Gross: $260.00M

18. Enter the Dragon (1973)

R | 102 min | Action, Crime, Thriller

A Shaolin martial artist travels to an island fortress to spy on an opium lord - who is also a former monk from his temple - under the guise of attending a fighting tournament.

Director: Robert Clouse | Stars: Bruce Lee , John Saxon , Jim Kelly , Ahna Capri

Votes: 112,479 | Gross: $25.00M

19. Rain Man (1988)

R | 133 min | Drama

After a selfish L.A. yuppie learns his estranged father left a fortune to an autistic-savant brother in Ohio that he didn't know existed, he absconds with his brother and sets out across the country, hoping to gain a larger inheritance.

Director: Barry Levinson | Stars: Dustin Hoffman , Tom Cruise , Valeria Golino , Gerald R. Molen

Votes: 544,043 | Gross: $178.80M

20. Casablanca (1942)

PG | 102 min | Drama, Romance, War

A cynical expatriate American cafe owner struggles to decide whether or not to help his former lover and her fugitive husband escape the Nazis in French Morocco.

Director: Michael Curtiz | Stars: Humphrey Bogart , Ingrid Bergman , Paul Henreid , Claude Rains

Votes: 603,256 | Gross: $1.02M

21. The Princess Bride (1987)

PG | 98 min | Adventure, Comedy, Family

A bedridden boy's grandfather reads him the story of a farmboy-turned-pirate who encounters numerous obstacles, enemies and allies in his quest to be reunited with his true love.

Director: Rob Reiner | Stars: Cary Elwes , Mandy Patinkin , Robin Wright , Chris Sarandon

Votes: 449,102 | Gross: $30.86M

22. Almost Famous (2000)

R | 122 min | Adventure, Comedy, Drama

A high-school boy in the early 1970s is given the chance to write a story for Rolling Stone magazine about an up-and-coming rock band as he accompanies them on their concert tour.

Director: Cameron Crowe | Stars: Billy Crudup , Patrick Fugit , Kate Hudson , Frances McDormand

Votes: 292,123 | Gross: $32.53M

23. Garden State (2004)

R | 102 min | Comedy, Drama, Romance

A quietly troubled young man returns home for his mother's funeral after being estranged from his family for a decade.

Director: Zach Braff | Stars: Zach Braff , Peter Sarsgaard , Natalie Portman , Ian Holm

Votes: 222,839 | Gross: $26.78M

24. Spider-Man (2002)

PG-13 | 121 min | Action, Adventure, Sci-Fi

After being bitten by a genetically-modified spider, a shy teenager gains spider-like abilities that he uses to fight injustice as a masked superhero and face a vengeful enemy.

Director: Sam Raimi | Stars: Tobey Maguire , Kirsten Dunst , Willem Dafoe , James Franco

Votes: 874,018 | Gross: $403.71M

25. The Wizard of Oz (1939)

PG | 102 min | Adventure, Family, Fantasy

Young Dorothy Gale and her dog Toto are swept away by a tornado from their Kansas farm to the magical Land of Oz, and embark on a quest with three new friends to see the Wizard, who can return her to her home and fulfill the others' wishes.

Directors: Victor Fleming , King Vidor | Stars: Judy Garland , Frank Morgan , Ray Bolger , Bert Lahr

Votes: 426,453 | Gross: $2.08M

26. Pan's Labyrinth (2006)

R | 118 min | Drama, Fantasy, War

In the Falangist Spain of 1944, the bookish young stepdaughter of a sadistic army officer escapes into an eerie but captivating fantasy world.

Director: Guillermo del Toro | Stars: Ivana Baquero , Ariadna Gil , Sergi López , Maribel Verdú

Votes: 700,357 | Gross: $37.63M

27. Avatar (2009)

PG-13 | 162 min | Action, Adventure, Fantasy

A paraplegic Marine dispatched to the moon Pandora on a unique mission becomes torn between following his orders and protecting the world he feels is his home.

Director: James Cameron | Stars: Sam Worthington , Zoe Saldana , Sigourney Weaver , Michelle Rodriguez

Votes: 1,380,390 | Gross: $760.51M

28. Where the Wild Things Are (2009)

PG | 101 min | Adventure, Drama, Family

Yearning for escape and adventure, a young boy runs away from home and sails to an island filled with creatures that take him in as their king.

Director: Spike Jonze | Stars: Max Records , Catherine O'Hara , Forest Whitaker , Pepita Emmerichs

Votes: 108,282 | Gross: $77.23M

29. Buffy the Vampire Slayer (1992)

PG-13 | 86 min | Action, Comedy, Fantasy

Flighty teenage girl Buffy Summers learns that she is her generation's destined battler of vampires.

Director: Fran Rubel Kuzui | Stars: Kristy Swanson , Donald Sutherland , Paul Reubens , Rutger Hauer

Votes: 49,205 | Gross: $16.62M

30. First Knight (1995)

PG-13 | 134 min | Action, Adventure, Drama

Lancelot falls in love with Guinevere, who is due to be married to King Arthur. Meanwhile, a violent warlord tries to seize power from Arthur and his Knights of the Round Table.

Director: Jerry Zucker | Stars: Sean Connery , Richard Gere , Julia Ormond , Ben Cross

Votes: 78,254 | Gross: $37.60M

31. The Game (1997)

R | 129 min | Drama, Mystery, Thriller

After a wealthy San Francisco banker is given an opportunity to participate in a mysterious game, his life is turned upside down as he begins to question if it might really be a concealed conspiracy to destroy him.

Director: David Fincher | Stars: Michael Douglas , Deborah Kara Unger , Sean Penn , James Rebhorn

Votes: 426,836 | Gross: $48.32M

32. The Contender (2000)

R | 126 min | Drama, Thriller

Senator Laine Hanson is a contender for U.S. Vice President, but information and disinformation about her past surfaces that threatens to derail her confirmation.

Director: Rod Lurie | Stars: Joan Allen , Gary Oldman , Jeff Bridges , Christian Slater

Votes: 24,947 | Gross: $17.87M

33. Shakespeare in Love (1998)

R | 123 min | Comedy, Drama, History

The world's greatest ever playwright, William Shakespeare , is young, out of ideas and short of cash, but meets his ideal woman and is inspired to write one of his most famous plays.

Director: John Madden | Stars: Gwyneth Paltrow , Joseph Fiennes , Geoffrey Rush , Tom Wilkinson

Votes: 233,651 | Gross: $100.32M

34. Fight Club (1999)

R | 139 min | Drama

An insomniac office worker and a devil-may-care soap maker form an underground fight club that evolves into much more.

Director: David Fincher | Stars: Brad Pitt , Edward Norton , Meat Loaf , Zach Grenier

Votes: 2,305,460 | Gross: $37.03M

35. Thelma & Louise (1991)

R | 130 min | Adventure, Crime, Drama

Two best friends set out on an adventure, but it soon turns around to a terrifying escape from being hunted by the police, as these two girls escape for the crimes they committed.

Director: Ridley Scott | Stars: Susan Sarandon , Geena Davis , Harvey Keitel , Michael Madsen

Votes: 171,463 | Gross: $45.36M

36. The Scarlet Letter (1995)

R | 135 min | Drama, Romance

An affair between a young woman and a pastor has disastrous consequences.

Director: Roland Joffé | Stars: Demi Moore , Gary Oldman , Robert Duvall , Lisa Andoh

Votes: 16,238 | Gross: $10.40M

37. Finding Forrester (2000)

PG-13 | 136 min | Drama

Forrester, the author of a famous book, decides to help Jamal, a 16-year-old student, discover his writing prowess by mentoring him and enrolling him into a prestigious private school.

Director: Gus Van Sant | Stars: Sean Connery , Rob Brown , F. Murray Abraham , Anna Paquin

Votes: 89,332 | Gross: $66.40M

38. American Beauty (1999)

R | 122 min | Drama

A sexually frustrated suburban father has a mid-life crisis after becoming infatuated with his daughter's best friend.

Director: Sam Mendes | Stars: Kevin Spacey , Annette Bening , Thora Birch , Wes Bentley

Votes: 1,206,042 | Gross: $130.10M

39. Rocky (1976)

PG | 120 min | Drama, Sport

A small-time Philadelphia boxer gets a supremely rare chance to fight the world heavyweight champion in a bout in which he strives to go the distance for his self-respect.

Director: John G. Avildsen | Stars: Sylvester Stallone , Talia Shire , Burt Young , Carl Weathers

Votes: 624,883 | Gross: $117.24M

40. Labyrinth (1986)

PG | 101 min | Adventure, Family, Fantasy

Sixteen-year-old Sarah must solve a labyrinth to rescue her baby brother when he is taken by the Goblin King.

Director: Jim Henson | Stars: David Bowie , Jennifer Connelly , Toby Froud , Shelley Thompson

Votes: 148,739 | Gross: $12.73M

41. Superman (1978)

PG | 143 min | Action, Adventure, Sci-Fi

An alien orphan is sent from his dying planet to Earth, where he grows up to become his adoptive home's first and greatest superhero.

Director: Richard Donner | Stars: Christopher Reeve , Margot Kidder , Gene Hackman , Marlon Brando

Votes: 186,710 | Gross: $134.22M

42. Star Trek (2009)

PG-13 | 127 min | Action, Adventure, Sci-Fi

The brash James T. Kirk tries to live up to his father's legacy with Mr. Spock keeping him in check as a vengeful Romulan from the future creates black holes to destroy the Federation one planet at a time.

Director: J.J. Abrams | Stars: Chris Pine , Zachary Quinto , Simon Pegg , Leonard Nimoy

Votes: 618,949 | Gross: $257.73M

43. V for Vendetta (2005)

R | 132 min | Action, Drama, Sci-Fi

In a future British dystopian society, a shadowy freedom fighter, known only by the alias of "V", plots to overthrow the tyrannical government - with the help of a young woman.

Director: James McTeigue | Stars: Hugo Weaving , Natalie Portman , Rupert Graves , Stephen Rea

Votes: 1,174,774 | Gross: $70.51M

44. Indiana Jones and the Last Crusade (1989)

PG-13 | 127 min | Action, Adventure

In 1938, after his father goes missing while pursuing the Holy Grail, Indiana Jones finds himself up against the Nazis again to stop them from obtaining its powers.

Director: Steven Spielberg | Stars: Harrison Ford , Sean Connery , Alison Doody , Denholm Elliott

Votes: 807,454 | Gross: $197.17M

45. Finding Nemo (2003)

G | 100 min | Animation, Adventure, Comedy

After his son is captured in the Great Barrier Reef and taken to Sydney, a timid clownfish sets out on a journey to bring him home.

Directors: Andrew Stanton , Lee Unkrich | Stars: Albert Brooks , Ellen DeGeneres , Alexander Gould , Willem Dafoe

Votes: 1,107,234 | Gross: $380.84M

46. Aladdin (1992)

G | 90 min | Animation, Adventure, Comedy

A kind-hearted street urchin and a power-hungry Grand Vizier vie for a magic lamp that has the power to make their deepest wishes come true.

Directors: Ron Clements , John Musker | Stars: Scott Weinger , Robin Williams , Linda Larkin , Jonathan Freeman

Votes: 463,017 | Gross: $217.35M

47. The Lion King (1994)

G | 88 min | Animation, Adventure, Drama

Lion prince Simba and his father are targeted by his bitter uncle, who wants to ascend the throne himself.

Directors: Roger Allers , Rob Minkoff | Stars: Matthew Broderick , Jeremy Irons , James Earl Jones , Whoopi Goldberg

Votes: 1,135,050 | Gross: $422.78M

48. Wreck-It Ralph (2012)

PG | 101 min | Animation, Adventure, Comedy

A video game villain wants to be a hero and sets out to fulfill his dream, but his quest brings havoc to the whole arcade where he lives.

Director: Rich Moore | Stars: John C. Reilly , Jack McBrayer , Jane Lynch , Sarah Silverman

Votes: 455,896 | Gross: $189.42M

49. Shrek (2001)

PG | 90 min | Animation, Adventure, Comedy

A mean lord exiles fairytale creatures to the swamp of a grumpy ogre, who must go on a quest and rescue a princess for the lord in order to get his land back.

Directors: Andrew Adamson , Vicky Jenson | Stars: Mike Myers , Eddie Murphy , Cameron Diaz , John Lithgow

Votes: 729,444 | Gross: $267.67M

50. Kung Fu Panda (2008)

PG | 92 min | Animation, Action, Adventure

To everyone's surprise, including his own, Po, an overweight, clumsy panda, is chosen as protector of the Valley of Peace. His suitability will soon be tested as the valley's arch-enemy is on his way.

Directors: Mark Osborne , John Stevenson | Stars: Jack Black , Ian McShane , Angelina Jolie , Dustin Hoffman

Votes: 515,071 | Gross: $215.43M

51. Watership Down (1978)

PG | 91 min | Animation, Adventure, Drama

Hoping to escape destruction by human developers and save their community, a colony of rabbits, led by Hazel and Fiver, seek out a safe place to set up a new warren.

Directors: Martin Rosen , John Hubley | Stars: John Hurt , Richard Briers , Ralph Richardson , Michael Graham Cox

Votes: 39,207

52. Batman Begins (2005)

PG-13 | 140 min | Action, Crime, Drama

After witnessing his parents' death, Bruce learns the art of fighting to confront injustice. When he returns to Gotham as Batman, he must stop a secret society that intends to destroy the city.

Director: Christopher Nolan | Stars: Christian Bale , Michael Caine , Ken Watanabe , Liam Neeson

Votes: 1,569,235 | Gross: $206.85M

53. The Dark Knight (2008)

PG-13 | 152 min | Action, Crime, Drama

When the menace known as the Joker wreaks havoc and chaos on the people of Gotham, Batman must accept one of the greatest psychological and physical tests of his ability to fight injustice.

Director: Christopher Nolan | Stars: Christian Bale , Heath Ledger , Aaron Eckhart , Michael Caine

Votes: 2,851,937 | Gross: $534.86M

54. The Dark Knight Rises (2012)

PG-13 | 164 min | Action, Drama, Thriller

Eight years after the Joker's reign of chaos, Batman is coerced out of exile with the assistance of the mysterious Selina Kyle in order to defend Gotham City from the vicious guerrilla terrorist Bane.

Director: Christopher Nolan | Stars: Christian Bale , Tom Hardy , Anne Hathaway , Gary Oldman

Votes: 1,816,422 | Gross: $448.14M

55. The Karate Kid (1984)

PG | 126 min | Action, Drama, Family

A martial arts master agrees to teach karate to a bullied teenager.

Director: John G. Avildsen | Stars: Ralph Macchio , Pat Morita , Elisabeth Shue , Martin Kove

Votes: 243,117 | Gross: $90.82M

56. Gladiator (2000)

R | 155 min | Action, Adventure, Drama

A former Roman General sets out to exact vengeance against the corrupt emperor who murdered his family and sent him into slavery.

Director: Ridley Scott | Stars: Russell Crowe , Joaquin Phoenix , Connie Nielsen , Oliver Reed

Votes: 1,608,874 | Gross: $187.71M

57. Field of Dreams (1989)

PG | 107 min | Drama, Family, Fantasy

Iowa farmer Ray Kinsella is inspired by a voice he can't ignore to pursue a dream he can hardly believe. Supported by his wife, Ray begins the quest by turning his ordinary cornfield into a place where dreams can come true.

Director: Phil Alden Robinson | Stars: Kevin Costner , James Earl Jones , Ray Liotta , Amy Madigan

Votes: 127,271 | Gross: $64.43M

58. Mirrormask (2005)

PG | 101 min | Drama, Fantasy

In a fantasy world of opposing kingdoms, a fifteen-year-old girl must find the fabled MirrorMask in order to save the kingdom and get home.

Director: Dave McKean | Stars: Stephanie Leonidas , Jason Barry , Rob Brydon , Gina McKee

Votes: 23,625 | Gross: $0.86M

59. The Dark Crystal (1982)

PG | 93 min | Adventure, Family, Fantasy

On another planet in the distant past, a Gelfling embarks on a quest to find the missing shard of a magical crystal, and to restore order to his world.

Directors: Jim Henson , Frank Oz | Stars: Jim Henson , Kathryn Mullen , Frank Oz , Dave Goelz

Votes: 71,117 | Gross: $40.58M

60. The Goonies (1985)

PG | 114 min | Adventure, Comedy, Family

A group of young misfits called The Goonies discover an ancient map and set out on an adventure to find a legendary pirate's long-lost treasure.

Director: Richard Donner | Stars: Sean Astin , Josh Brolin , Jeff Cohen , Corey Feldman

Votes: 296,578 | Gross: $61.50M

61. E.T. the Extra-Terrestrial (1982)

PG | 115 min | Adventure, Family, Sci-Fi

A troubled child summons the courage to help a friendly alien escape from Earth and return to his home planet.

Director: Steven Spielberg | Stars: Henry Thomas , Drew Barrymore , Peter Coyote , Dee Wallace

Votes: 435,369 | Gross: $435.11M

62. Witness (1985)

R | 112 min | Drama, Romance, Thriller

While protecting an Amish boy - who is the sole witness to a brutal murder - and his mother, a detective is forced to seek refuge within their community when his own life is threatened.

Director: Peter Weir | Stars: Harrison Ford , Kelly McGillis , Lukas Haas , Josef Sommer

Votes: 104,032 | Gross: $68.71M

63. Guardians of the Galaxy (2014)

PG-13 | 121 min | Action, Adventure, Comedy

A group of intergalactic criminals must pull together to stop a fanatical warrior with plans to purge the universe.

Director: James Gunn | Stars: Chris Pratt , Vin Diesel , Bradley Cooper , Zoe Saldana

Votes: 1,267,179 | Gross: $333.18M

64. Pride & Prejudice (2005)

PG | 129 min | Drama, Romance

Sparks fly when spirited Elizabeth Bennet meets single, rich, and proud Mr. Darcy. But Mr. Darcy reluctantly finds himself falling in love with a woman beneath his class. Can each overcome their own pride and prejudice?

Director: Joe Wright | Stars: Keira Knightley , Matthew Macfadyen , Brenda Blethyn , Donald Sutherland

Votes: 328,106 | Gross: $38.41M

65. The Bad Sleep Well (1960)

Not Rated | 151 min | Crime, Drama, Thriller

A vengeful young man marries the daughter of a corrupt industrialist in order to seek justice for his father's suicide.

Director: Akira Kurosawa | Stars: Toshirô Mifune , Masayuki Mori , Kyôko Kagawa , Tatsuya Mihashi

Votes: 13,927

66. Hamlet (1948)

Approved | 154 min | Drama

Prince Hamlet struggles over whether or not he should kill his uncle, whom he suspects has murdered his father, the former king.

Director: Laurence Olivier | Stars: Laurence Olivier , Jean Simmons , John Laurie , Esmond Knight

Votes: 18,260

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10 Good Movie Examples Showing the Hero’s Journey

  • April 18, 2022

The Hero’s Journey is an old literary device that appears in a wide variety of stories throughout human history. As such, it has also featured in many popular films since the dawn of cinema.

Although there are some deviations, the hero’s journey usually consists of a cyclical story with some main narrative beats. An ordinary person receives a call to adventure that requires them to leave their known, comfortable life for the unknown. They may refuse this call, but they soon reach a threshold where they need to answer it, which begins their transformation over the course of the story. They then set out on their journey, typically with the aid of a helper and/or mentor. They face challenges and temptations before experiencing a revelation that results in growth and change. The hero then atones and confronts the final conflict. At last, they are rewarded for their efforts and return to a known existence.

The following are ten films in a variety of genres that serve as great examples of the hero’s journey. Given the nature of this subject as an entire narrative story arc, do note that spoilers may be discussed for all films below.

Movie Examples Showing the Hero’s Journey

1. the lord of the rings trilogy (2001-2003).

This classic high fantasy epic is one of the most recognized depictions of the hero’s journey in fiction. The story centers around a hobbit named Frodo, who comes into possession of the Ring of Power, an object of evil that will doom the world if it falls into the wrong hands. With the aid of his mentor figure, the wizard Gandalf, Frodo must leave his idyllic homeland of the Shire and travel across the realm of Middle Earth to see the Ring destroyed. A powerful story about the horrors of war and how the bonds of fellowship carry people through the darkest times, The Lord of the Rings knows who the true heroes are and how they are ultimately changed by their experiences.

Duration: 2h 58m (The Fellowship of the Ring); 2h 59m (The Two Towers); 3h 21m (The Return of the King)

Rating: All PG-13

2. Star Wars (1977)

Star Wars (1977) movie poster

Almost everyone has heard of Star Wars, and it also happens to be a strong depiction of the hero’s journey. Farmboy Luke Skywalker lives an uneventful life on the remote desert planet of Tatooine. That changes when he comes into possession of a pair of droids holding secret information vital to the resistance against the Empire. He then must set out to ensure the stolen plans for the Empire’s new superweapon, the Death Star, are delivered to the resistance so they stand a chance of destroying it. With the help of his mentor, Obi-Wan Kenobi, he learns the ways of the Jedi, an ancient order of mystical knights. Throughout the story, Luke transforms into a Jedi Knight and true hero. The original film, released in 1977, was an instant sensation that changed the art of filmmaking forever.

Duration: 2h 1m

3. Black Panther (2018)

Black Panther (2018) movie poster

Many superhero films also follow the hero’s journey, but 2018’s groundbreaking Black Panther, part of the Marvel Cinematic Universe, is one of the best examples. Upon the death of his father, T’Challa becomes king of the hidden African nation of Wakanda. Throughout the story, he goes through death and rebirth and is challenged by the antagonist’s viewpoint. The end sees a return and atonement as he leads his nation and his people forward. Hailed as a breakthrough for Black storytelling and representation, Black Panther is a shining example of a film done right on all counts.

Duration: 2h 14m

Rating: PG-13

4. Airplane! (1980)

This irreverent, hilarious comedy film actually follows the story of the hero’s journey quite closely. A spoof of the earlier airline disaster movie Zero Hour! (1957), Airplane! follows former fighter pilot Ted Striker as he boards a plane in a desperate attempt to keep his ex-girlfriend, Elaine, who is working as a flight attendant, from leaving him. Struggling with the guilt of a command decision he made that saw his entire squadron destroyed, Ted is forced to grapple with his fears and take control of the plane when the flight crew becomes incapacitated due to bad fish. Well-known for throwing silly jokes at the audience non-stop, Airplane! has earned its reputation as one of the funniest films ever made.

Duration: 1h 28m

5. The Matrix (1999)

The Matrix (1999)

The Matrix follows the hero’s journey almost step by step. In it, regular office worker Thomas Anderson moonlights as a hacker known as Neo. When he is contacted by the mysterious and seemingly superhuman Trinity and Morpheus, Neo learns that the world in which humans live is a massive simulation run by machines and that he may be “the chosen One” who will save humanity from its prison. The film adheres to the death and rebirth aspect of the hero’s journey, as only through doing so can Neo become what he is destined to be. With a strong story, deep philosophy and jaw-dropping special effects, The Matrix remains a touchstone of cinematic brilliance that has kept audiences talking for years.

Duration: 2h 16m

6. The Lion King (1994)

The Lion King (1994) movie poster

Disney’s The Lion King tells the story of Simba, a young lion from the Pride Lands, as he learns to follow in his father’s footsteps to become king. Wrenched from his childhood life when his treacherous uncle Scar murders his father, Simba flees from the Pride Lands to the jungle where he would rather start a new life. But as the rightful king, he learns that he cannot hide from his destiny forever and that he must return to the Pride Lands and confront Scar once and for all. A classic animated film with beautiful animation, an unforgettable story and a stellar soundtrack, The Lion King will long be remembered as one of the best animated films ever made.

7. Avatar (2009)

James Cameron’s Avatar turned heads when it was released in 2009 for the film’s astonishing special effects which revolutionized motion capture technology. The hero of the story is Jake Sully, a former Marine who has been rendered paraplegic. He is sent to the alien world of Pandora as part of a program to put human beings in control of artificial bodies of the indigenous Na’vi that can survive in the planet’s environment. Jake begins seeing Pandora in a different light through his interactions with the Na’vi woman Neytiri and, realizing that plundering the planet for its natural resources is wrong, Jake seeks his atonement by fighting with the Na’vi to protect their home.

Duration: 2h 42m

8. Hacksaw Ridge (2016)

Hacksaw Ridge (2016) movie poster

Aside from science fiction and fantasy films, war movies are another genre where the hero’s journey story is common. Hacksaw Ridge, directed by Mel Gibson, is based on the true story of World War II medic Desmond Doss, the only recipient of the Medal of Honor who joins the war efforts as a conscientious objector. Doss signs up to become a combat medic after the Japanese attack on Pearl Harbor but steadfastly refuses to take life, which earns him scorn and even arrest. After sticking to his pledge and saving dozens of people during the Battle of Okinawa, he returns home to have his heroism finally recognized.

Duration: 2h 19m

9. Spirited Away (2001)

Spirited Away (2001) movie poster

Winner of the second-ever Academy Award for Best Animated Feature, Spirited Away is the crowning achievement of Japanese director Hayao Miyazaki, who has had a long and storied career producing lauded, beloved films. The hero of the story is 10-year-old Chihiro, who, along with her parents, wanders into the spirit world. When her parents are turned into pigs as punishment after eating food that doesn’t belong to them, she is left alone and afraid. With the aid of her helper, the mysterious young man Haku, she begins working at a bathhouse under the eye of the sinister Yubaba. Having to stay in this strange new world, Chihiro must adapt and grow if there is to be any hope of saving her parents and returning to the human world.

Duration: 2h 5m

10. The Hunger Games Series (2012-2015)

Living in one of the poorest districts of the dystopian nation Panem, Katniss Everdeen receives her call to adventure when her younger sister is selected to participate in the titular Hunger Games. A brutal competition where children fight to the death for the entertainment of Panem’s elite, Katniss does the only thing she can – volunteers to take her sister’s place. Suddenly thrust in front of the cameras, she quickly becomes a real symbol for a growing resistance movement against the Capitol. Challenged by the part she must play and the horrors she witnesses, she is forever changed by her experiences.

Duration: 2h 22m (The Hunger Games); 2h 26m (Catching Fire); 2h 3m (Mockingjay – Part 1); 2h 17m (Mockingjay – Part 2)

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The Hero’s Journey Ultimate Writing Guide with Examples

hero's journey archetype movies

by Alex Cabal

What do Star Wars , The Hobbit , and Harry Potter have in common? They’re all examples of a story archetype as old as time. You’ll see this universal narrative structure in books, films, and even video games.

This ultimate Hero’s Journey writing guide will define and explore all quintessential elements of the Hero’s Journey—character archetypes, themes, symbolism, the three act structure, as well as 12 stages of the Hero’s Journey. We’ll even provide a downloadable plot template, tips for writing the Hero’s Journey, and writing prompts to get the creative juices flowing.

What is the Hero’s Journey?

The Hero’s Journey is a universal story structure that follows the personal metamorphosis and psychological development of a protagonist on a heroic adventure. The protagonist goes through a series of stages to overcome adversity and complete a quest to attain an ultimate reward—whether that’s something tangible, like the holy grail, or something internal, like self confidence.

In the process of self-discovery, the archetypal Hero’s Journey is typically cyclical; it begins and ends in the same place (Think Frodo leaving and then returning to the Shire). After the epic quest or adventure has been completed by overcoming adversity and conflict—both physical and mental—the hero arrives where they once began, changed in some as they rose to meet the ultimate conflict or ordeal of the quest.

Joseph Campbell and Christopher Vogler

The Hero’s Journey has a long history of conversation around the form and its uses, with notable contributors including Joseph Campbell and the screenwriter Christopher Vogler , who later revised the steps of the Hero’s Journey.

Joseph Campbell’s “monomyth” framework is the traditional story structure of the Hero’s Journey archetype. Campbell developed it through analysis of ancient myths, folktales, and religious stories. It generally follows three acts in a cyclical, rather than a linear, way: a hero embarks on a journey, faces a crisis, and then returns home transformed and victorious.

Campbell’s ideation of the monomyth in his book The Hero With a Thousand Faces was influenced by Carl Jung’s perspective of psychology and models of self-transformation , where the Hero’s Journey is a path of transformation to a higher self, psychological healing, and spiritual growth.

While Campbell’s original take on the monomyth included 17 steps within the three acts, Christopher Vogler, in his book The Writer’s Journey , refined those 17 steps into 12 stages—the common formula for the modern structure many writers use today.

It’s also worth checking out Maureen Murdock’s work on the archetype, “The Heroine’s Journey.” This takes a look at the female Hero’s Journey, which examines the traditionally masculine journey through a feminist lens.

Hero’s Journey diagram: acts, steps, and stages

Below, you can see the way Volger’s Hero’s Journey is broken into twelve story beats across three acts.

A diagram representing the Hero’s Journey. The 12 steps of the journey surround a circle, which goes in a direction from act 1 to the final act.

Why is the Hero’s Journey so popular?

The structure of the Hero’s Journey appears in many of our most beloved classic stories, and it continues to resonate over time because it explores the concept of personal transformation and growth through both physical and mental trials and tribulations. In some sense, every individual in this mythic structure experiences rites of passage, the search for home and the true authentic self, which is mirrored in a protagonist’s journey of overcoming obstacles while seeking to fulfill a goal.

Additionally, the Hero’s Journey typically includes commonly shared symbols and aspects of the human psyche—the trickster, the mother, the child, etc. These archetypes play a role in creating a story that the reader can recognize from similar dynamics in their own relationships, experiences, and familiar world. Archetypes allow the writer to use these “metaphorical truths”—a playful deceiver, a maternal bond, a person of innocence and purity—to deeply and empathetically connect with the reader through symbolism. That’s why they continue to appear in countless stories all around the world.

Hero’s Journey character archetypes

Character archetypes are literary devices based on a set of qualities that are easy for a reader to identify, empathize with, and understand, as these qualities and traits are common to the human experience.

It should be noted that character archetypes are not stereotypes . While stereotypes are oversimplifications of demographics or personality traits, an archetype is a symbol of a universal type of character that can be recognized either in one’s self or in others in real life.

The following archetypes are commonly used in a Hero’s Journey:

The hero is typically the protagonist or principal point-of-view character within a story. The hero transforms—internally, externally, often both—while on their journey as they experience tests and trials and are aided or hindered by the other archetypes they encounter. In general, the hero must rise to the challenge and at some point make an act of sacrifice for the ultimate greater good. In this way, the Hero’s Journey represents the reader’s own everyday battles and their power to overcome them.

Heroes may be willing or unwilling. Some can be downright unheroic to begin with. Antiheroes are notably flawed characters that must grow significantly before they achieve the status of true hero.

The mentor often possesses divine wisdom or direct experience with the special world, and has faith in the hero. They often give the hero a gift or supernatural aid, which is usually something important for the quest: either a weapon to destroy a monster, or a talisman to enlighten the hero. The mentor may also directly aid the hero or present challenges to them that force internal or external growth. After their meeting, the hero leaves stronger and better prepared for the road ahead.

The herald is the “call to adventure.” They announce the coming of significant change and become the reason the hero ventures out onto a mysterious adventure. The herald is a catalyst that enters the story and makes it impossible for the hero to remain in status quo. Existing in the form of a person or an event, or sometimes just as information, they shift the hero’s balance and change their world.

The Threshold Guardian

This archetype guards the first threshold—the major turning point of the story where the hero must make the true commitment of the journey and embark on their quest to achieve their destiny. Threshold guardians spice up the story by providing obstacles the hero must overcome, but they’re usually not the main antagonist.

The role of the threshold guardian is to help round out the hero along their journey. The threshold guardian will test the hero’s determination and commitment and will drive them forward as the hero enters the next stage of their journey, assisting the development of the hero’s character arc within the plot. The threshold guardian can be a friend who doesn’t believe in the hero’s quest, or a foe that makes the hero question themselves, their desires, or motives in an attempt to deter the hero from their journey. Ultimately, the role of the threshold guardian is to test the hero’s resolve on their quest.

The Shape Shifter

The shape shifter adds dramatic tension to the story and provides the hero with a puzzle to solve. They can seem to be one thing, but in fact be something else. They bring doubt and suspense to the story and test the hero’s ability to discern their path. The shape shifter may be a lover, friend, ally, or enemy that somehow reveals their true self from the hero’s preconceived notion. This often causes the hero internal turmoil, or creates additional challenges and tests to overcome.

The shadow is the “monster under the bed,” and could be repressed feelings, deep trauma, or festering guilt. These all possess the dark energy of the shadow. It is the dark force of the unexpressed, unrealized, rejected, feared aspects of the hero and is often, but not necessarily, represented by the main antagonist or villain.

However, other characters may take the form of the shadow at different stages of the story as “foil characters” that contrast against the hero. They might also represent what could happen if the hero fails to learn, transform, and grow to complete their quest. At times, a hero may even succumb to the shadow, from which they will need to make sacrifices to be redeemed to continue on their overall quest.

The Trickster

The trickster is the jester or fool of the story that not only provides comic relief, but may also act as a commentator as the events of the plot unfold. Tricksters are typically witty, clever, spontaneous, and sometimes even ridiculous. The trickster within a story can bring a light-hearted element to a challenge, or find a clever way to overcome an obstacle.

The Hero’s Journey can be found all across comparative mythology

Hero’s Journey themes and symbols

Alongside character archetypes, there are also archetypes for settings, situations, and symbolic items that can offer meaning to the world within the story or support your story’s theme.

Archetypes of themes, symbols, and situations represent shared patterns of human existence. This familiarity can provide the reader insight into the deeper meaning of a story without the writer needing to explicitly tell them. There are a great number of archetypes and symbols that can be used to reinforce a theme. Some that are common to the Hero’s Journey include:

Situational archetypes

Light vs. dark and the battle of good vs. evil

Death, rebirth, and transformation in the cycle of life

Nature vs. technology, and the evolution of humanity

Rags to riches or vice versa, as commentary on the material world and social status

Wisdom vs. knowledge and innocence vs. experience, in the understanding of intuition and learned experience

Setting archetypes

Gardens may represent the taming of nature, or living in harmony with nature.

Forests may represent reconnection with nature or wildness, or the fear of the unknown.

Cities or small towns may represent humanity at its best and at its worst. A small town may offer comfort and rest, while simultaneously offering judgment; a city may represent danger while simultaneously championing diversity of ideas, beings, and cultures.

Water and fire within a landscape may represent danger, change, purification, and cleansing.

Symbolic items

Items of the past self. These items are generally tokens from home that remind the hero of where they came from and who or what they’re fighting for.

Gifts to the hero. These items may be given to the hero from a mentor, ally, or even a minor character they meet along the way. These items are typically hero talismans, and may or may not be magical, but will aid the hero on their journey.

Found items. These items are typically found along the journey and represent some sort of growth or change within the hero. After all, the hero would never have found the item had they not left their everyday life behind. These items may immediately seem unimportant, but often carry great significance.

Earned rewards. These items are generally earned by overcoming a test or trial, and often represent growth, or give aid in future trials, tests, and conflicts.

The three act structure of the Hero’s Journey

The structure of the Hero’s Journey, including all 12 steps, can be grouped into three stages that encompass each phase of the journey. These acts follow the the external and internal arc of the hero—the beginning, the initiation and transformation, and the return home.

Act One: Departure (Steps 1—5)

The first act introduces the hero within the ordinary world, as they are—original and untransformed. The first act will typically include the first five steps of the Hero’s Journey.

This section allows the writer to set the stage with details that show who the hero is before their metamorphosis—what is the environment of the ordinary world? What’s important to the hero? Why do they first refuse the call, and then, why do they ultimately accept and embark on the journey to meet with the conflict?

This stage introduces the first major plot point of the story, explores the conflict the hero confronts, and provides the opportunity for characterization for the hero and their companions.

The end of the first act generally occurs when the hero has fully committed to the journey and crossed the threshold of the ordinary world—where there is no turning back.

Act Two: Initiation (Steps 6—9)

Once the hero begins their journey, the second act marks the beginning of their true initiation into the unfamiliar world—they have crossed the threshold, and through this choice, have undergone their first transformation.

The second act is generally the longest of the three and includes steps six through nine.

In this act, the hero meets most of the characters that will be pivotal to the plot, including friends, enemies, and allies. It offers the rising action and other minor plot points related to the overarching conflict. The hero will overcome various trials, grow and transform, and navigate subplots—the additional and unforeseen complexity of the conflict.

This act generally ends when the hero has risen to the challenge to overcome the ordeal and receives their reward. At the end of this act, it’s common for the theme and moral of the story to be fully unveiled.

Act Three: Return (Steps 10—12)

The final stage typically includes steps 10—12, generally beginning with the road back—the point in the story where the hero must recommit to the journey and use all of the growth, transformation, gifts and tools acquired along the journey to bring a decisive victory against their final conflict.

From this event, the hero will also be “reborn,” either literally or metaphorically, and then beginning anew as a self-actualized being, equipped with internal knowledge about themselves, external knowledge about the world, and experience.

At the end of the third act, the hero returns home to the ordinary world, bringing back the gifts they earned on their journey. In the final passages, both the hero and their perception of the ordinary world are compared with what they once were.

The 12 steps of the Hero’s Journey

The following guide outlines the 12 steps of the Hero’s Journey and represents a framework for the creation of a Hero’s Journey story template. You don’t necessarily need to follow the explicit cadence of these steps in your own writing, but they should act as checkpoints to the overall story.

We’ll also use JRR Tolkien’s The Hobbit as a literary example for each of these steps. The Hobbit does an exemplary job of following the Hero’s Journey, and it’s also an example of how checkpoints can exist in more than one place in a story, or how they may deviate from the typical 12-step process of the Hero’s Journey.

Step One: “The Ordinary World”

1. The Ordinary World

This stage in the Hero’s Journey is all about exposition. This introduces the hero’s backstory—who the hero is, where they come from, their worldview, culture, and so on. This offers the reader a chance to relate to the character in their untransformed form.

As the story and character arc develop, the reader is brought along the journey of transformation. By starting at the beginning, a reader has a basic understanding of what drives the hero, so they can understand why the hero makes the choices they do. The ordinary world shows the protagonist in their comfort zone, with their worldview being limited to the perspective of their everyday life.

Characters in the ordinary world may or may not be fully comfortable or satisfied, but they don’t have a point of reference to compare—they have yet to leave the ordinary world to gain the knowledge to do so.

Step One example

The Hobbit begins by introducing Bilbo in the Shire as a respectable and well-to-do member of the community. His ordinary world is utopian and comfortable. Yet, even within a village that is largely uninterested in the concerns of the world outside, the reader is provided a backstory: even though Bilbo buys into the comforts and normalcy of the Shire, he still yearns for adventure—something his neighbors frown upon. This ordinary world of the Shire is disrupted with the introduction of Gandalf—the “mentor”—who is somewhat uncomfortably invited to tea.

2. Call to Adventure

The call to adventure in the Hero’s Journey structure is the initial internal conflict that the protagonist hero faces, that drives them to the true conflict that they must overcome by the end of their journey.

The call occurs within the known world of the character. Here the writer can build on the characterization of the protagonist by detailing how they respond to the initial call. Are they hesitant, eager, excited, refusing, or willing to take a risk?

Step Two example

Bilbo’s call to adventure takes place at tea as the dwarves leisurely enter his home, followed by Gandalf, who identifies Bilbo as the group’s missing element—the burglar, and the lucky 14th member.

Bilbo and his ordinary world are emphasized by his discomfort with his rambunctious and careless guests. Yet as the dwarves sing stories of old adventures, caverns, and lineages, which introduce and foreshadow the conflict to come, a yearning for adventure is stirred. Though he still clings to his ordinary world and his life in the Shire, he’s conflicted. Should he leave the shire and experience the world, or stay in his comfortable home? Bilbo continues to refuse the call, but with mixed feelings.

Step Three: “Refusal of the Call”

3. Refusal of the Call

The refusal of the call in the Hero’s Journey showcases a “clinging” to one’s original self or world view. The initial refusal of the call represents a fear of change, as well as a resistance to the internal transformation that will occur after the adventure has begun.

The refusal reveals the risks that the protagonist faces if they were to answer the call, and shows what they’ll leave behind in the ordinary world once they accept.

The refusal of the call creates tension in the story, and should show the personal reasons why the hero is refusing—inner conflict, fear of change, hesitation, insecurity, etc. This helps make their character clearer for the reader.

These are all emotions a reader can relate to, and in presenting them through the hero, the writer deepens the reader’s relationship with them and helps the reader sympathize with the hero’s internal plight as they take the first step of transformation.

Step Three example

Bilbo refuses the call in his first encounter with Gandalf, and in his reaction to the dwarves during tea. Even though Bilbo’s “Tookish” tendencies make him yearn for adventure, he goes to bed that night still refusing the call. The next morning, as Bilbo awakes to an empty and almost fully clean hobbit home, he feels a slight disappointment for not joining the party, but quickly soothes his concerns by enjoying the comfort of his home—i.e. the ordinary world. Bilbo explores his hesitation to disembark from the ordinary world, questioning why a hobbit would become mixed up in the adventures of others, and choosing not to meet the dwarves at the designated location.

4. Meeting the Mentor

Meeting the mentor in the Hero’s Journey is the stage that provides the hero protagonist with a guide, relationship, and/or informational asset that has experience outside the ordinary world. The mentor offers confidence, advice, wisdom, training, insight, tools, items, or gifts of supernatural wonder that the hero will use along the journey and in overcoming the ultimate conflict.

The mentor often represents someone who has attempted to overcome, or actually has overcome, an obstacle, and encourages the hero to pursue their calling, regardless of the hero’s weaknesses or insecurities. The mentor may also explicitly point out the hero’s weaknesses, forcing them to reckon with and accept them, which is the first step to their personal transformation.

Note that not all mentors need to be a character . They can also be objects or knowledge that has been instilled in the hero somehow—cultural ethics, spiritual guidance, training of a particular skill, a map, book, diary, or object that illuminates the path forward, etc. In essence, the mentor character or object has a role in offering the protagonist outside help and guidance along the Hero’s Journey, and plays a key role in the protagonist’s transition from normalcy to heroism.

The mentor figure also offers the writer the opportunity to incorporate new information by expanding upon the story, plot, or backstory in unique ways. They do this by giving the hero information that would otherwise be difficult for the writer to convey naturally.

The mentor may accompany the hero throughout most of the story, or they may only periodically be included to facilitate changes and transformation within them.

Step Four example

The mentor, Gandalf, is introduced almost immediately. Gandalf is shown to be the mentor, firstly through his arrival from—and wisdom of—the outside world; and secondly, through his selection of Bilbo for the dwarven party by identifying the unique characteristics Bilbo has that are essential to overcoming the challenges in the journey. Gandalf doesn’t accompany Bilbo and the company through all of the trials and tribulations of the plot, but he does play a key role in offering guidance and assistance, and saves the group in times of dire peril.

Step Five: “Crossing the Threshold”

5. Crossing the Threshold

As the hero crosses the first threshold, they begin their personal quest toward self-transformation. Crossing the threshold means that the character has committed to the journey, and has stepped outside of the ordinary world in the pursuit of their goal. This typically marks the conclusion of the first act.

The threshold lies between the ordinary world and the special world, and marks the point of the story where the hero fully commits to the road ahead. It’s a crucial stage in the Hero’s Journey, as the hero wouldn’t be able to grow and transform by staying in the ordinary world where they’re comfortable and their world view can’t change.

The threshold isn’t necessarily a specific place within the world of the story, though a place can symbolize the threshold—for example a border, gateway, or crossroads that separate what is safe and “known” from what is potentially dangerous. It can also be a moment or experience that causes the hero to recognize that the comforts and routine of their world no longer apply—like the loss of someone or something close to the hero, for example. The purpose of the threshold is to take the hero out of their element and force them, and the reader, to adapt from the known to the unknown.

This moment is crucial to the story’s tension. It marks the first true shift in the character arc and the moment the adventure has truly begun. The threshold commonly forces the hero into a situation where there’s no turning back. This is sometimes called the initiation stage or the departure stage.

Step Five example

The threshold moment in The Hobbit occurs when the party experiences true danger as a group for the first time. Bilbo, voted as scout by the party and eager to prove his burglar abilities, sneaks upon a lone fire in the forest where he finds three large trolls. Rather than turn back empty-handed—as he initially wants to—Bilbo chooses to prove himself, plucking up the courage to pickpocket the trolls—but is caught in the process. The dwarves are also captured and fortunately, Gandalf, the mentor, comes to save the party.

Bilbo’s character arc is solidified in this threshold moment. He experiences his first transformation when he casts aside fear and seeks to prove himself as a burglar, and as an official member of the party. This moment also provides further characterization of the party as a whole, proving the loyalty of the group in seeking out their captured member.

Gandalf’s position as the mentor is also firmly established as he returns to ultimately save all of the members of the party from being eaten by trolls. The chapter ends with Bilbo taking ownership of his first hero talisman—the sword that will accompany him through the rest of the adventure.

6. Tests, Allies, Enemies

Once the hero has crossed the threshold, they must now encounter tests of courage, make allies, and inevitably confront enemies. All these elements force the hero to learn the new ways of the special world and how it differs from the hero’s ordinary world—i.e. how the rules have changed, the conditions of the special world vs. the ordinary world, and the various beings and places within it.

All these elements spark stages of transformation within the hero—learning who they can trust and who they can’t, learning new skills, seeking training from the mentor, and overcoming challenges that force and drive them to grow and transform.

The hero may both succeed and fail at various points of this stage, which will test their commitment to the journey. The writer can create tension by making it clear that the hero may or may not succeed at the critical moment of crisis. These crises can be external or internal.

External conflicts are issues that the character must face and overcome within the plot—e.g. the enemy has a sword drawn and the hero must fight to survive.

Internal conflicts occur inside the hero. For example, the hero has reached safety, but their ally is in peril; will they step outside their comfort zone and rise to the occasion and save their friend? Or will they return home to their old life and the safety of the ordinary world?

Tests are conflicts and threats that the hero must face before they reach the true conflict, or ordeal, of the story. These tests set the stage and prime the hero to meet and achieve the ultimate goal. They provide the writer the opportunity to further the character development of the hero through their actions, inactions, and reactions to what they encounter. The various challenges they face will teach them valuable lessons, as well as keep the story compelling and the reader engaged.

Allies represent the characters that offer support to the protagonist along the journey. Some allies may be introduced from the beginning, while others may be gained along the journey. Secondary characters and allies provide additional nuance for the hero, through interactions, events, and relationships that further show who the hero is at heart, what they believe in, and what they’re willing to fight for. The role of the allies is to bring hope, inspiration, and further drive the hero to do what needs to be done.

Enemies represent a foil to the allies. While allies bring hope and inspiration, enemies will provide challenges, conflicts, tests, and challenges. Both allies and enemies may instigate transformative growth, but enemies do so in a way that fosters conflict and struggle.

Characterization of enemies can also enhance the development of the hero through how they interact and the lessons learned through those interactions. Is the hero easily duped, forgiving, empathetic, merciful? Do they hold a grudge and seek revenge? Who is the hero now that they have been harmed, faced an enemy, and lost pieces of their innocent worldview? To answer that, the hero is still transforming and gestating with every lesson, test, and enemy faced along the way.

Step Six example

As the plot of The Hobbit carries on, Bilbo encounters many tests, allies, and enemies that all drive complexity in the story. A few examples include:

The first major obstacle that Bilbo faces occurs within the dark and damp cave hidden in the goblin town. All alone, Bilbo must pluck up the wit and courage to outriddle a creature named Gollum. In doing so, Bilbo discovers the secret power of a golden ring (another hero talisman) that will aid him and the party through the rest of the journey.

The elves encountered after Bilbo “crosses the threshold” are presented as allies in the story. The hero receives gifts of food, a safe place to rest, and insight and guidance that allows the party to continue on their journey. While the party doesn’t dwell long with the elves, the elves also provide further character development for the party at large: the serious dwarf personalities are juxtaposed against the playful elvish ones, and the elves offer valuable historical insight with backstory to the weapons the party gathered from the troll encounter.

Goblins are a recurring enemy within the story that the hero and party must continue to face, fight, and run from. The goblins present consistent challenges that force Bilbo to face fear and learn and adapt, not only to survive but to save his friends.

Step Seven: “Approach to the Inmost Cave”

7. Approach to the Inmost Cave

The approach to the inmost cave of the Hero’s Journey is the tense quiet before the storm; it’s the part of the story right before the hero faces their greatest fear, and it can be positioned in a few different ways. By now, the hero has overcome obstacles, setbacks, and tests, gained and lost allies and enemies, and has transformed in some way from the original protagonist first introduced in the ordinary world.

The moment when the hero approaches the inmost cave can be a moment of reflection, reorganization, and rekindling of morale. It presents an opportunity for the main characters of the story to come together in a moment of empathy for losses along the journey; a moment of planning and plotting next steps; an opportunity for the mentor to teach a final lesson to the hero; or a moment for the hero to sit quietly and reflect upon surmounting the challenge they have been journeying toward for the length of their adventure.

The “cave” may or may not be a physical place where the ultimate ordeal and conflict will occur. The approach represents the momentary period where the hero assumes their final preparation for the overall challenge that must be overcome. It’s a time for the hero and their allies, as well as the reader, to pause and reflect on the events of the story that have already occurred, and to consider the internal and external growth and transformation of the hero.

Having gained physical and/or emotional strength and fortitude through their trials and tests, learned more rules about the special world, found and lost allies and friends, is the hero prepared to face danger and their ultimate foe? Reflection, tension, and anticipation are the key elements of crafting the approach to the cave.

Step Seven example

The approach to the cave in The Hobbit occurs as the party enters the tunnel of the Lonely Mountain. The tunnel is the access point to the ultimate goal—Thorin’s familial treasure, as well as the ultimate test—the formidable dragon Smaug. During this part of the story, the party must hide, plot, and plan their approach to the final conflict. It’s at this time that Bilbo realizes he must go alone to scout out and face the dragon.

8. The Ordeal

The ordeal is the foreshadowed conflict that the hero must face, and represents the midpoint of the story. While the ordeal is the ultimate conflict that the hero knows they must overcome, it’s a false climax to the complete story—there’s still much ground to cover in the journey, and the hero will still be tested after completing this, the greatest challenge. In writing the ordeal phase of the Hero’s Journey, the writer should craft this as if it actually were the climax to the tale, even though it isn’t.

The first act, and the beginning of the second act, have built up to the ordeal with characterization and the transformation of the hero through their overcoming tests and trials. This growth—both internal and external—has all occurred to set the hero up to handle this major ordeal.

As this stage commences, the hero is typically faced with fresh challenges to make the ordeal even more difficult than they previously conceived. This may include additional setbacks for the hero, the hero’s realization that they were misinformed about the gravity of the situation, or additional conflicts that make the ordeal seem insurmountable.

These setbacks cause the hero to confront their greatest fears and build tension for both the hero and the reader, as they both question if the hero will ultimately succeed or fail. In an epic fantasy tale, this may mean a life-or-death moment for the hero, or experiencing death through the loss of an important ally or the mentor. In a romance, it may be the moment of crisis where a relationship ends or a partner reveals their dark side or true self, causing the hero great strife.

This is the rock-bottom moment for the hero, where they lose hope, courage, and faith. At this point, even though the hero has already crossed the threshold, this part of the story shows how the hero has changed in such a way that they can never return to their original self: even if they return to the ordinary world, they’ll never be the same; their perception of the world has been modified forever.

Choosing to endure against all odds and costs to face the ordeal represents the loss of the hero’s original self from the ordinary world, and a huge internal transformation occurs within the hero as they must rise and continue forth to complete their journey and do what they set out to do from the beginning.

The ordeal may also be positioned as an introduction to the greater villain through a trial with a shadow villain, where the hero realizes that the greatest conflict is unveiled as something else, still yet to come. In these instances, the hero may fail, or barely succeed, but must learn a crucial lesson and be metaphorically resurrected through their failure to rise again and overcome the greater challenge.

Step Eight example

Bilbo must now face his ultimate challenge: burgle the treasure from the dragon. This is the challenge that was set forth from the beginning, as it’s his purpose as the party’s 14th member, the burglar, anointed by Gandalf, the mentor. Additional conflicts arise as Bilbo realizes that he must face the dragon alone, and in doing so, must rely on all of the skills and gifts in the form of talismans and tokens he has gained throughout the adventure.

During the ordeal, Bilbo uses the courage he has gained by surmounting the story’s previous trials; he’s bolstered by his loyalty to the group and relies upon the skills and tools he has earned in previous trials. Much as he outwitted Gollum in the cave, Bilbo now uses his wit as well as his magical ring to defeat Smaug in a game of riddles, which ultimately leads Smaug out of the lair so that Bilbo can complete what he was set out to do—steal the treasure.

Step Nine: “Reward”

The reward of the Hero’s Journey is a moment of triumph, celebration, or change as the hero achieves their first major victory. This is a moment of reflection for both the reader and the hero, to take a breath to contemplate and acknowledge the growth, development, and transformation that has occurred so far.

The reward is the boon that the hero learns, is granted, or steals, that will be crucial to facing the true climax of the story that is yet to come. The reward may be a physical object, special knowledge, or reconciliation of some sort, but it’s always a thing that allows for some form of celebration or replenishment and provides the drive to succeed before the journey continues.

Note that the reward may not always be overtly positive—it may also be a double-edged sword that could harm them physically or spiritually. This type of reward typically triggers yet another internal transformation within the hero, one that grants them the knowledge and personal drive to complete the journey and face their remaining challenges.

From the reward, the hero is no longer externally driven to complete the journey, but has evolved to take on the onus of doing so.

Examples of rewards may include:

A weapon, elixir, or object that will be necessary to complete the quest.

Special knowledge, or a personal transformation to use against a foe.

An eye-opening experience that provides deep insight and fundamentally changes the hero and their position within the story and world.

Reconciliation with another character, or with themselves.

No matter what the reward is, the hero should experience some emotional or spiritual revelation and a semblance of inner peace or personal resolve to continue the journey. Even if the reward is not overtly positive, the hero and the reader deserve a moment of celebration for facing the great challenge they set out to overcome.

Step Nine example

Bilbo defeats the dragon at a battle of wits and riddles, and now receives his reward. He keeps the gifts he has earned, both the dagger and the gold ring. He is also granted his slice of the treasure, and the Lonely Mountain is returned to Thorin. The party at large is rewarded for completing the quest and challenge they set out to do.

However, Tolkien writes the reward to be more complex than it first appears. The party remains trapped and hungry within the Mountain as events unfold outside of it. Laketown has been attacked by Smaug, and the defenders will want compensation for the damage to their homes and for their having to kill the dragon. Bilbo discovers, and then hides, the Arkenstone (a symbolic double edged reward) to protect it from Thorin’s selfishness and greed.

Step Ten: “The Road Back”

10. The Road Back

The road back in the Hero’s Journey is the beginning of the third act, and represents a turning point within the story. The hero must recommit to the journey, alongside the new stakes and challenges that have arisen from the completion of the original goal.

The road back presents roadblocks—new and unforeseen challenges to the hero that they must now face on their journey back to the ordinary world. The trials aren’t over yet, and the stakes are raised just enough to keep the story compelling before the final and ultimate conflict—the hero’s resurrection—is revealed in the middle of the third act.

The hero has overcome their greatest challenge in the Ordeal and they aren’t the same person they were when they started. This stage of the story often sees the hero making a choice, or reflecting on their transformed state compared to their state at the start of the journey.

The writer’s purpose in the third act is not to eclipse the upcoming and final conflict, but to up the stakes, show the true risk of the final climax, and to reflect on what it will take for the hero to ultimately prevail. The road back should offer a glimmer of hope—the light at the end of the tunnel—and should let the reader know the dramatic finale is about to arrive.

Step Ten example

What was once a journey to steal treasure and slay a dragon has developed new complications. Our hero, Bilbo, must now use all of the powers granted in his personal transformation, as well as the gifts and rewards he earned on the quest, to complete the final stages of the journey.

This is the crisis moment of The Hobbit ; the armies of Laketown are prepared for battle to claim their reward for killing Smaug; the fearless leader of their party, Thorin, has lost reason and succumbed to greed; and Bilbo makes a crucial choice based his personal growth: he gives the Arkenstone to the king as a bargaining chip for peace. Bilbo also briefly reconnects with the mentor, Gandalf, who warns him of the unpleasant times ahead, but comforts Bilbo by saying that things may yet turn out for the best. Bilbo then loyally returns to his friends, the party of dwarves, to stand alongside them in the final battle.

11. Resurrection

The resurrection stage of the Hero’s Journey is the final climax of the story, and the heart of the third act. By now the hero has experienced internal and external transformation and a loss of innocence, coming out with newfound knowledge. They’re fully rooted in the special world, know its rules, and have made choices that underline this new understanding.

The hero must now overcome the final crisis of their external quest. In an epic fantasy tale, this may be the last battle of light versus darkness, good versus evil, a cumulation of fabulous forces. In a thriller, the hero might ultimately face their own morality as they approach the killer. In a drama or romance, the final and pivotal encounter in a relationship occurs and the hero puts their morality ahead of their immediate desires.

The stakes are the highest they’ve ever been, and the hero must often choose to make a sacrifice. The sacrifice may occur as a metaphoric or symbolic death of the self in some way; letting go of a relationship, title, or mental/emotional image of the self that a hero once used as a critical aspect of their identity, or perhaps even a metaphoric physical death—getting knocked out or incapacitated, losing a limb, etc.

Through whatever the great sacrifice is, be it loss or a metaphoric death, the hero will experience a form of resurrection, purification, or internal cleansing that is their final internal transformation.

In this stage, the hero’s character arc comes to an end, and balance is restored to the world. The theme of the story is fully fleshed out and the hero, having reached some form of self-actualization, is forever changed. Both the reader and the hero experience catharsis—the relief, insight, peace, closure, and purging of fear that had once held the hero back from their final transformation.

Step Eleven example

All the armies have gathered, and the final battle takes place. Just before the battle commences, Bilbo tells Thorin that it was he who gave the Arkenstone to the city of men and offers to sacrifice his reward of gold for taking the stone. Gandalf, the mentor, arrives, standing beside Bilbo and his decision. Bilbo is shunned by Thorin and is asked to leave the party for his betrayal.

Bilbo experiences a symbolic death when he’s knocked out by a stone. Upon awakening, Bilbo is brought to a dying Thorin, who forgives him of his betrayal, and acknowledges that Bilbo’s actions were truly the right thing to do. The theme of the story is fully unveiled: that bravery and courage comes in all sizes and forms, and that greed and gold are less worthy than a life rich in experiences and relationships.

Step Twelve: “Return with the Elixir”

12. Return with the Elixir

The elixir in the Hero’s Journey is the final reward the hero brings with them on their return, bridging their two worlds. It’s a reward hard earned through the various relationships, tests, and growth the hero has experienced along their journey. The “elixir” can be a magical potion, treasure, or object, but it can also be intangible—love, wisdom, knowledge, or experience.

The return is key to the circular nature of the Hero’s Journey. It offers a resolution to both the reader and the hero, and a comparison of their growth from when the journey began.

Without the return, the story would have a linear nature, a beginning and an end. In bringing the self-actualized hero home to the ordinary world, the character arc is completed, and the changes they’ve undergone through the journey are solidified. They’ve overcome the unknown, and though they’re returning home, they can no longer resume their old life because of their new insight and experiences.

Step Twelve example

The small yet mighty hero Bilbo is accompanied on his journey home by his mentor Gandalf, as well as the allies he gathered along his journey. He returns with many rewards—his dagger, his golden ring, and his 1/14th split of the treasure—yet his greatest rewards are his experience and the friends he has made along the way. Upon entering the Shire Bilbo sings a song of adventure, and the mentor Gandalf remarks, “My dear Bilbo! Something is the matter with you, you are not the hobbit you were.”

The final pages of The Hobbit explore Bilbo’s new self in the Shire, and how the community now sees him as a changed hobbit—no longer quite as respectable as he once was, with odd guests who visit from time to time. Bilbo also composes his story “There and Back Again,” a tale of his experiences, underlining his greatest reward—stepping outside of the Shire and into the unknown, then returning home, a changed hobbit.

Books that follow the Hero’s Journey

One of the best ways to become familiar with the plot structure of the Hero’s Journey is to read stories and books that successfully use it to tell a powerful tale. Maybe they’ll inspire you to use the hero’s journey in your own writing!

The Lord of the Rings trilogy by J. R. R. Tolkien.

The Harry Potter series by J. K. Rowling.

The Earthsea series by Ursula K. Le Guin.

The Odyssey by Homer.

Siddhartha by Herman Hesse.

Pride and Prejudice by Jane Austen.

Writing tips for the Hero’s Journey

Writing a Hero’s Journey story often requires planning beforehand to organize the plot, structure, and events of the story. Here are some tips to use the hero’s journey archetype in a story:

Use a template or note cards to organize and store your ideas. This can assist in ensuring that you tie up any loose ends in the plot, and that the cadence of your story is already outlined before you begin writing.

Use word count goals for writing different sections of your story. This can help you keep pace while you plan and write the first draft. You can always revise, edit, and add in detail at later stages of development, but getting the ideas written without bogging them down with details can assist in preparing your outline, and may perhaps provide additional inspiration and guidance along the way.

Lean into creativity and be flexible with the 12 steps. They don’t need to occur in the exact order we’ve listed above, but that ordering can offer great checkpoint moments for your story.

Invest in characterization and ensure that your main character is balanced with credible strengths and weaknesses. A perfect, pure hero has no room to grow. A one-dimensional villain who relies on the trope of “pure evil” without any motivations for their actions is boring and predictable.

Ensure tension and urgency is woven into the story. An epic tale to the grocery store for baby formula may still be fraught with danger, and the price of failure is a hungry child. Without urgency, tension, and risk, a Hero’s Journey will fall flat.

Be hard on your characters. Give them deep conflicts that truly test their nature, and their mental, physical, and spiritual selves. An easy journey isn’t a memorable one.

Have a balance of scenes that play on both positive and negative emotions and outcomes for the hero to create a compelling plot line that continues to engage your reader. A story that’s relentlessly positive doesn’t provide a pathway for the hero to transform. Likewise, a story that’s nothing but doom, strife, and turmoil, without a light at the end of the tunnel or an opportunity for growth, can make a story feel stagnant and unengaging.

Reward your characters and your reader. Personal transformation and the road to the authentic self may be grueling, but there’s peace or joy at the end of the tunnel. Even if your character doesn’t fully saved the world, they—and the reader—should be rewarded with catharsis, a new perspective, or personal insight at the end of the tale.

Hero’s Journey templates

Download these free templates to help you plan out your Hero’s Journey:

Download the Hero’s Journey template template (docx) Download the Hero’s Journey template template (pdf)

Prompts and practices to help you write your own Hero’s Journey

Use the downloadable template listed below for the following exercises:

Read a book or watch a movie that follows the Hero’s Journey. Use the template to fill in when each step occurs or is completed. Make note of themes and symbols, character arcs, the main plot, and the subplots that drive complexity in the story.

When writing, use a timer set to 2—5 minutes per section to facilitate bursts of creativity. Brainstorm ideas for cadence, plot, and characters within the story. The outline you create can always be modified, but the timer ensures you can get ideas on paper without a commitment; you’re simply jotting down ideas as quickly as you can.

Use the downloadable template above to generate outlines based on the following prompts.

A woman’s estranged mother has died. A friend of the mother arrives at the woman’s home to tell her that her mother has left all her belongings to her daughter, and hands her a letter. The letter details the mother’s life, and the daughter must visit certain places and people to find her mother’s house and all the belongings in it—learning more about her mother’s life, and herself, along the way.

The last tree on earth has fallen, and technology can no longer sustain human life on Earth. An engineer, having long ago received alien radio signals from a tower in their backyard, has dedicated their life to building a spaceship in their garage. The time has come to launch, and the engineer must select a group of allies to bring with them to the stars, on a search for a new life, a new home, and “the others” out there in the universe.

A detective is given a new case: to find a much-talked-about murderer. The twist is, the murderer has sent a letter to the detective agency, quietly outing a homicidal politician who is up for re-election and is a major financial contributor to the police. In the letter, the murderer states that if the politician doesn’t come clean about their crimes, the murderer will kill the politician on the night of the election. The detective must solve the case before the election, and come to terms with their own feelings of justice and morality.

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Christopher Vogler's work on archetypes helps us understand literature

  • Tips For Adult Students
  • Getting Your Ged
  • The Hero's Journey

The Job of the Herald

The purpose of the mentor, overcoming the threshold guardian, meeting ourselves in shapeshifters, confronting the shadow, changes brought about by the trickster.

hero's journey archetype movies

  • B.A., English, St. Olaf College

Carl Jung called archetypes the ancient patterns of personality that are the shared heritage of the human race. Archetypes are amazingly constant throughout all times and cultures in the collective unconscious, and you'll find them in all of the most satisfying literature. An understanding of these forces is one of the most powerful elements in the storyteller’s toolbox.

Understanding these ancient patterns can help you better understand literature and become a better writer yourself. You'll also be able to identify archetypes in your life experience and bring that wealth to your work. 

When you grasp the function of the archetype a character expresses, you will know his or her purpose in the story.

Christopher Vogler, author of The Writer's Journey: Mythic Structure , writes about how every good story reflects the total human story. In other words, the hero's journey represents the universal human condition of being born into this world, growing, learning, struggling to become an individual, and dying. The next time you watch a movie, TV program, even a commercial, identify the following archetypes. I guarantee you'll see some or all of them.

The Hero's Journey

The word "hero" comes from a Greek root that means to protect and serve. The hero is connected with self-sacrifice. He or she is the person who transcends ego, but at first, the hero is all ego.

The hero’s job is to incorporate all the separate parts of himself to become a true Self, which he then recognizes as part of the whole, Vogler says. The reader is usually invited to identify with the hero. You admire the hero's qualities and want to be like him or her, but the hero also has flaws. Weaknesses, quirks, and vices make a hero more appealing. The hero also has one or more inner conflicts. For example, he or she may struggle over the conflicts of love versus duty, trust versus suspicion, or hope versus despair.

In The Wizard of Oz  Dorothy is the story's hero, a girl trying to find her place in the world.

Heralds issue challenges and announce the coming of significant change. Something changes the hero’s situation, and nothing is the same ever again.

The herald often delivers the Call to Adventure, sometimes in the form of a letter, a phone call, an accident.

Heralds provide the important psychological function of announcing the need for change, Vogler says.

Miss Gulch, at the beginning of the film version of The Wizard of Oz , makes a visit to Dorothy's house to complain that Toto is trouble. Toto is taken away, and the adventure begins.

Mentors provide heroes with motivation , inspiration , guidance, training, and gifts for the journey. Their gifts often come in the form of information or gadgets that come in handy later. Mentors seem inspired by divine wisdom; they are the voice of a god. They stand for the hero’s highest aspirations, Vogler says.

The gift or help given by the mentor should be earned by learning, sacrifice, or commitment.

Yoda is a classic mentor. So is Q from the James Bond series. Glinda, the Good Witch, is Dorothy's mentor in The Wizard of O z.

At each gateway on the journey, there are powerful guardians placed to keep the unworthy from entering. If properly understood, these guardians can be overcome, bypassed, or turned into allies. These characters are not the journey's main villain but are often lieutenants of the villain. They are the naysayers, doorkeepers, bouncers, bodyguards, and gunslingers, according to Vogler.

On a deeper psychological level, threshold guardians represent our internal demons. Their function is not necessarily to stop the hero but to test if he or she is really determined to accept the challenge of change.

Heroes learn to recognize resistance as a source of strength. Threshold Guardians are not to be defeated but incorporated into the self. The message: those who are put off by outward appearances cannot enter the Special World, but those who can see past surface impressions to the inner reality are welcome, according to Vogler.

The Doorman at the Emerald City, who attempts to stop Dorothy and her friends from seeing the wizard, is one threshold guardian. Another is the group of flying monkeys who attack the group. Finally, the Winkie Guards are literal threshold guardians who are enslaved by the Wicked Witch.

Shapeshifters express the energy of the animus (the male element in the female consciousness) and anima (the female element in the male consciousness). Vogler says we often recognize a resemblance of our own anima or animus in a person, project the full image onto him or her, enter a relationship with this ideal fantasy, and commence trying to force the partner to match our projection.

The shapeshifter is a catalyst for change, a symbol of the psychological urge to transform. The role serves the dramatic function of bringing doubt and suspense into a story. It is a mask that may be worn by any character in the story, and is often expressed by a character whose loyalty and true nature are always in question, Vogler says.

Think Scarecrow, Tin Man, Lion.

The shadow represents the energy of the dark side, the unexpressed, unrealized, or rejected aspects of something. The negative face of the shadow is the villain, antagonist, or enemy. It may also be an ally who is after the same goal but who disagrees with the hero’s tactics.

Vogler says the function of the shadow is to challenge the hero and give her a worthy opponent in the struggle. Femmes Fatale are lovers who shift shapes to such a degree they become the shadow. The best shadows have some admirable quality that humanizes them. Most shadows do not see themselves as villains, but merely as heroes of their own myths.

Internal shadows may be deeply repressed parts of the hero, according to Vogler. External shadows must be destroyed by the hero or redeemed and turned into a positive force. Shadows may also represent unexplored potentials, such as affection, creativity, or psychic ability that goes unexpressed.

The Wicked Witch is the obvious shadow in the Wizard of Oz.

The trickster embodies the energies of mischief and the desire for change. He cuts big egos down to size and brings heroes and readers down to earth, Vogler says. He brings change by drawing attention to the imbalance or absurdity of a stagnant situation and often provokes laughter. Tricksters are catalyst characters who affect the lives of others but are unchanged themselves.

The Wizard himself is both a shapeshifter and a trickster.

  • The Approach to the Inmost Cave in the Hero's Journey
  • The Hero's Journey: Crossing the Threshold
  • An Introduction to The Hero's Journey
  • The Hero's Journey: Refusing The Call to Adventure
  • The Ordeal in the Hero's Journey
  • The Reward and the Road Back
  • The Hero's Journey: Meeting with the Mentor
  • The Ordinary World in the Hero's Journey
  • Therapeutic Metaphor
  • The Resurrection and Return With the Elixir
  • "The Wonderful Wizard of Oz" Study Guide
  • Direct Question in Grammar
  • Object of a Preposition Definition and Examples
  • Ice Breaker Game: The Movie of Your Life
  • May Writing Prompts
  • Das Nibelungenlied: Epic German Classic

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What Are The Hero’s Journey Archetypes?

Storytellers have used hero’s journey archetypes in the greatest stories, novels modern films. Learn what they are.

You may not think you know anything about the hero’s journey archetypes – but you’re actually way more familiar with these character types than you think! Hero’s journey archetypes permeate literary and popular culture and have done for time out of mind. They appear, in different forms, in cultures from around the world, and without them, the scaffolding behind the narrative structures of works from Indiana Jones to King Lear would likely collapse.

But who exactly, then, are these hero’s journey archetypes? Come along with us on a deep dive into these enigmatic, charismatic figures, their role, and why they’re so important – plus, we’ll give you some getting-started tips on how to use them in your own stories.

What’s an Archetype?

The hero’s journey explained, the warrior, the innocent, the creative, the romantic, the researcher, a mentor figure, the shadow: the hero’s dark reflection, developing your hero’s journey archetype’s character, combining hero archetypes, fulfilling expectations.

In the early 1900s, the psychiatrist and psychoanalyst Carl Jung started writing about archetypes. He termed them ancient personality patterns that are the shared heritage of humanity. Archetypes have characteristics that mark them as a typical example of a certain person (or thing). The word comes from the ancient Greek verb ‘archein’, which translates as ‘to begin’ or ‘to rule.’

The hero’s journey story involves the hero setting off on an adventure, often leaving their familiar world behind. This stage is typically described as The Departure. During the next stage, the Initiation, the character learns a lesson and usually wins some form of victory due to this new knowledge.

Next comes The Return, in which the hero returns to his/her familiar world, transformed. In this guide, we also explain how the hero’s journey works , but for context, let’s put some flesh on those conceptual monomyth bones, shall we?

Harry Potter is a classic hero archetype (more on the different versions of the hero archetype in a bit). In the first film and book, Potter sets off to Hogwarts, leaving the world of the muggles behind to begin an exciting new adventure (The Departure). Among the various trials inherent in settling into an enchanted boarding school, Potter and his friends discover the hidden location of the Philosopher’s Stone and triumph over many obstacles to recover it.

Along the way, they learn the true meaning of courage and friendship. Quirrell, who has been harboring Voldemort, then attempts to kill the boy wizard – unsuccessfully (The Initiation). Finally, after recovering in the school’s infirmary, Potter returns to the muggles’ world for the summer vacation, happy with the knowledge that his wizarding journey has just begun (The Return).

This pattern can be discerned in many stories, from The Lord of the Rings to The Wizard of Oz – and now you know about it, you’ll be spotting it in the most unlikely of places! The renowned scholar and professor of literature Joseph Campbell broke down the stages of the hero’s journey even further in his 1949 book The Hero with a Thousand Faces . Story doctor Christopher Vogler has also written extensively about this topic.

The Hero’s Journey Archetypes

So, now we’ve established the hero’s journey trope and how to recognize it, let’s move on to the archetypal characters we’ll meet in these stories. Whether you’re watching a TV series or a movie that follows the hero’s journey , these are the archetypes that you’ll come across.

The Hero’s Journey Archetypes: The warrior

Probably the archetype that most people would most easily identify as ‘heroic’ is The Warrior. Think Jason Bourne, Superman, Wonder Woman, and Luke Skywalker in Star Wars. These characters, as part of their journey, might find themselves confronted by a ‘dark night of the soul’ moment: the point right before the storm, the very edge of the precipice, beyond which is chaos and mayhem.

For Clark Kent/Superman, this is the bit in the movie when he knows he’s got to face an adversary who has kryptonite – or when he’s building up to telling Lois Lane his secret. For other Warrior hero archetypes, it could be the moment they discover the villain’s abducted someone they care about or that the baddie has got hold of a world-obliterating weapon.

The character archetypes offer room for flex, which can add interest or tension to the story. For example, how might The Warrior fare in a world or situation where his skills have become redundant?

One of the most common archetypes of the hero’s journey, this character, often a child and/or an orphan, finds themselves thrust into a dangerous world they’d previously not imagined existed. This is Dorothy finding herself a long way from Kansas, or Luke Skywalker suddenly whisked from his ordinary life on a moisture farm in Tatooine to become a key part in the fight to disarm Darth Vader’s Death Star. It’s Frodo Baggins swept away on that treacherous road to Mordor in The Lord of the Rings trilogy.

The Innocent often has an optimistic outlook and is loyal, honest, and sincere. They’re able to see the good in others and may be prone to be tricked by characters with fewer scruples.

Fundamentally, The Innocent archetype discovers a strength, resolve, tenacity, or skill they didn’t know they had. Dorothy realizes she can navigate the world independently. Luke learns how to use the Force, while Frodo, a hobbit from the Shire, finds he has the courage to journey to Mordor. For more examples, read our guide to movies that follow the hero’s journey .

Articles about Frankenstein

Usually plagued by self-doubt, on the verge of obsession, and caught in an unconscious spiral of self-neglect. Characters in the mold of The Creative Archetype aren’t usually the most relaxed of folk.

This archetype often faces staunch resistance from the status quo, who reject or are fearful of their innovations, inventions, or new ways of thinking, which could herald the start of a new world. They have great powers of flair, imagination, and innovation but also tend towards perfectionism and even neuroticism.

As a result, they are often depicted as having a hard time navigating relationships and forming connections. Examples of The Creative hero archetype include Viktor Frankenstein, and Ed Wood, in the Tim Burton-directed movie of the same name. Being a Creative type usually comes at a great cost.

An essential part of The Creative’s story arc is the struggle to bring their vision to physical reality. In the course of the story, they’ll usually succeed, but things don’t pan out, often with disastrous consequences. Interestingly, many of fiction’s greatest villains start on the path of The Creative archetype: Voldemort and Professor Moriarty are just a few examples.

This archetype is prepared to live and die in the service of others; while they’re often cast as the main character, they also frequently appear as a sidekick or foil, adding balance to the narrative and a little comic relief.

Empathy, compassion, and the ability to nurture are traits typically found in The Carer. The drive to protect or heal is often the motivating force behind their actions, and they’re prepared to sublimate their own needs to accomplish these things. These characters often possess a strong sense of intuition – even a sixth sense that tells them when others are in need.

Sandra Bullock’s Leigh Anne Tuohy in Blindside and Denzel Washington’s character in The Equalizer are both caregiver hero archetypes. Woody from the movie Toy Story also falls into this category: his role is to take care of Andy’s toys, arranging their activities in such a way as to bring benefits to the whole group.

However, the Caregiver archetype needs to be wary of their shadow side. Many stories in which they appear as a hero find them confronting this darker reflection. Caring for someone may easily segue into becoming overbearing, even controlling.

Alternatively, they could have trouble finding their path if specific caring duties are no longer required. If you’re interested in using The Caregiver archetype in your own story, introducing these elements is a great way to ratchet up narrative tension and drive the plot.

It’s not enough for a hero to fall in love for his or her character to be categorized as a Romantic archetype. After all, James Bond might fall in love (multiple times) during the course of a movie, but finding love isn’t ever his main goal, so he doesn’t count as one of The Romantic archetypes.

This archetype often appears in literature and film as a Byronic hero . These characters have a set of traits codified by the English Romantic poet Lord Byron: a little aloof, even sullen, but with a rich inner life beneath that prickly surface.

The Romantic hero often also crosses into the neighboring territory of the Tragic Hero, a sub-category of hero archetypes. These characters labor under a single fatal flaw or make one catastrophic error in judgment in the course of the story that ultimately dooms them. As the audience, we can only watch their sad downfall, knowing all too well what will happen.

Romeo Montague is, of course, the epitome of this hero archetype – all his other goals and motivations are secondary to his pursuit of romantic love. The inimitable Mr. Darcy from Jane Austen’s Pride and Prejudice is also a great example of a romantic, Byronic hero.

Whereas The Warrior may overcome his/her enemies with physical strength, skill, and tenacity, The Researcher relies on his wits and his superior mind to succeed.

Character traits of this archetype include persistence, dependability, and curiosity. You can rely on them to come up with the goods. Their minds can make connections that others simply can’t, and a moment of insight is likely to lead to victory.

The Researcher often likes to spend time alone and isn’t afraid to move outside of social ‘norms’ – they’re more concerned with their work and ideas than fitting in. They’re self-sufficient, and this hero archetype may have problems (initially) working with others.

This archetype often manifests as a detective in stories and movies, most notably, Sherlock Holmes and in the tales of the many cases solved by Hercule Poirot. Indiana Jones is another example, using his intellect and exceptional research chops to overcome his adversaries.

Many hero’s journey books and stories include a mentor figure of some description. For example, Obi-Wan Kenobi forms this archetype in Star Wars. At first, he’s reluctant to train Luke in the ways of the force. Later, we discover he’s been looking out for and protecting Luke for years.

He becomes a type of mentor to Luke until his untimely death. He assists Luke in crossing over from an ordinary world into a special world: that of a Jedi Knight! In the subsequent films, Yoda fills this trope.

This hero archetype regularly appears in stories from fairy tales (Jack in Jack and the Beanstalk ) to contemporary movies. All five main characters from The Breakfast Club belong to The Rebel class for different reasons. Katniss Everdeen from The Hunger Games falls in this category, as does Prometheus from ancient Greek mythology, who did some serious sneaking about in a bid to give fire to humanity. For more, read our guide to popular hero’s journey books .

The Rebel figure connects with audiences as this character is usually an underdog: a small cog in a huge machine, apparently powerless to make a difference. Everyone knows the frustration of wanting but feeling unable to change things – of not being heard and seen.

Winston Smith, the protagonist in George Orwell’s 1984, is The Rebel hero archetype. In a world where one’s every move and thought is watched and controlled by the state, he still finds a way to express personal freedom. To learn more, read our guide to the best dystopian novels .

What motivates The Rebel character is to seek out their oppressor, or the root cause of their oppression, and overthrow him/her/them/it. In a nutshell, this archetype wants nothing more than to stick it to The Man – and as an audience, we’re usually right there behind them.

The Ruler archetype frequently takes the form of a king or queen. Throughout the story, they need to negotiate threats to their power. Often, the story begins with this archetype at the peak of their powers and then follows their decline. Needless to say, these tales usually take the form of a tragedy. Mafia or crime stories like Scarface tend to feature these character types and follow this overarching structure. And King Lear follows a similar template, too.

This archetype’s key traits include responsibility and extremely strong leadership skills. They’re usually organized and analytical and are driven by success, prosperity, and the importance of safeguarding their community. The Ruler usually fears a loss of control or influence and chaos.

As a hero archetype, The Ruler is motivated by a desire to provide stability and direction, especially during difficult times. These characters are good at looking at the big picture, aren’t afraid to make tough decisions, and are great at handling stress.

King Theoden, leader of the Rohan people in The Lord of the Rings, is a great example of The Ruler archetype. He is fearless in mounting a defense of his kingdom and committed to protecting all citizens under his care.

The Shadow is one of the most common versions of the villain archetype. This archetype is the hero’s reflection.

The Shadow character isn’t ‘pure evil’. They often believe that they’re the piece’s hero. And while their background is similar to that of the hero, they tend to foster a selfish, indifferent attitude toward others. They may take the form of the trickster: such as The Riddler in Batman or Puck-type figures in folklore.

George Lucas understood this: Anakin and Luke Skywalker’s early stories are similar, and both are inspired, ultimately, to hope and believe in the power of good eventually – even if it takes one of them much longer to get there than the other.

The connections don’t end there; the characters share many of the same associations, and Darth Sidious attempts to recruit both Luke (unsuccessfully) and Anakin (successfully). When it comes to The Shadow, the reader always gets the impression that this incarnation could easily have been the hero’s own destiny but for a twist or two of fate.

Typically, The Shadow will have started out pursuing a moral goal or design to create a better new world, but they end up pushing too far or going too fast and losing sight of their original noble vision. For The Shadow archetype, whatever the ends, they always justify the means, no matter the destruction that will result. And it’s this that most fundamentally differentiates them from the hero.

Choosing Your Own Hero’s Journey Archetype

If you’d like to write your own story and are wondering which of the hero archetypes to choose for your main character, think about the kind of tale you’re telling. Genre is an important consideration.

For example, The Creative will likely work well in a political thriller, while The Warrior will fit neatly into an action-adventure story. If you’ve narrowed it down but are struggling to make a decision, then pick the hero archetype that you’d feel most excited to write about – or how about creating an archetype hybrid?

So now what? The next stage of planning your story is giving your hero a mission or a reason for them to go on a quest. Ideally, this takes the form of a physical goal (taking the ring to Mordor) and a nonphysical imperative (a wistful longing to experience life beyond The Shire). As well as this, you’ll need to ensure you give your hero certain key character traits that will allow your readers or audience to relate to him or her. Inspiring empathy is crucial.

A consistent element of the hero’s journey is the fact that, at some point in the story, what they need isn’t necessarily the same as what they want, and there’ll be a conflict. For example, the hero may have an opportunity to achieve their goals…but at the expense of their values. Think about how you could incorporate this into your own story and how it will drive your narrative. It can make for neat dichotomies and the chance to get stuck into psychological drama.

Want to create a hybrid hero archetype? Go for it! In the film of the same title, Erin Brockovich is both The Researcher and The Rebel, while Simba, in The Lion King, is simultaneously The Innocent and The King. Consider different fusions of archetypes and how each would affect the tone and direction of the story you want to tell.

Finally, to captivate your readers and engage them thoroughly with your story, you need your hero archetype to fulfill audience expectations. They might not know why or even realize it’s happening, but folk love a recognizable archetype.

So if you’ve gone with The Creative hero archetype, be sure to show your readers clearly just how obsessed this character is with their invention or their concept that they’re convinced is going to improve…whatever it is. Let us see them still awake in the early hours, scribbling notes about tweaks they need to make to their plans or knocking on the door of patent offices and getting consistently turned away.

And once you’ve fulfilled your readers’ expectations? Now it’s time to innovate. Don’t be afraid to throw a literary cat in amongst the pigeons. Reimagine the archetype, keeping his/her key tropes intact but adding a large dollop of your own imagination. Your Creative hero? How about having him as someone in their eighties who’s lived a normal life until this point, when he suddenly woke up this morning with the tech idea of the century that could herald the dawn of a whole new world?

Combining fulfillment and innovation makes for the perfect blend, allowing you to create a fresh version of a hero archetype that’ll have your audience rooting for them throughout.

hero's journey archetype movies

Melanie Smith is a freelance content and creative writer from Gloucestershire, UK, where she lives with her daughter, long-suffering partner, and cat, The Magical Mr. Bobo. Her blog posts and articles feature regularly in magazines and websites around the world.

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The hero’s journey breakdown: ‘star wars’.

By Ken Miyamoto · October 11, 2019

hero's journey archetype movies

How does Star Wars: A New Hope follow Joseph Campbell’s Hero’s Journey breakdown?

Welcome to the inaugural installment of our new series A Hero’s Journey Breakdown where we explore Joseph Campbell’s mythological storytelling structure and how iconic films fit into that mold.

First up is Star Wars Episode IV: A New Hope . Let’s break down the plot and structure of George Lucas’ 1977 space-opera, the first in what would become an epic franchise spanning nearly 40 years, and see how it fits within The Hero’s Journey. You can download the script below to follow along.

But before we do that, let’s make sure we have the basics down, including what the Hero’s Journey is, where it originated, and who created it.

The Hero’s Journey 101

The “hero’s journey” is a common narrative archetype that features the different stages of a protagonist’s journey in a story. It has been studied and analyzed by many scholars from a multitude of disciplines, but one interpretation has found its way into the minds of almost every writer studying the craft.

The Monomyth

In 1949, writer and professor of literature Joseph Campbell wrote one of the most influential works in storytelling, The Hero with a Thousand Faces, in which he theorizes that stories often share a basic structure. Dubbed the “monomyth” or “the hero’s adventure,” Campbell lays out 17 stages of this narrative archetype, from  but some have crafted their own interpretations and renditions that the writing community has used as guides in their own work.

Joseph Campbell's Monomyth

Joseph Campbell’s Monomyth

Vogler: The Writer’s Journey

Christopher Vogler’s approach to Campbell’s structure broke the mythical story structure into 12 stages. For this series, we define the stages in simplified interpretations:

  • The Ordinary World : We see the hero’s normal life at the start of the story before the adventure begins.
  • Call to Adventure : The hero is faced with an event, conflict, problem, or challenge that makes them begin their adventure.
  • Refusal of the Call : The hero initially refuses the adventure because of hesitation, fears, insecurity, or any other number of issues.
  • Meeting the Mentor : The hero encounters a mentor that can give them advice, wisdom, information, or items that ready them for the journey ahead.
  • Crossing the Threshold : The hero leaves their ordinary world for the first time and crosses the threshold into adventure.
  • Tests, Allies, and Enemies : The hero learns the rules of the new world and endures tests, meets friends, and comes face-to-face with enemies.
  • The Approach : The initial plan to take on the central conflict begins, but setbacks occur that cause the hero to try a new approach or adopt new ideas.
  • The Ordeal: Things go wrong and added conflict is introduced. The hero experiences more difficult hurdles and obstacles, some of which may lead to a life crisis.
  • The Reward : After surviving The Ordeal, the hero seizes the sword — a reward that they’ve earned that allows them to take on the biggest conflict. It may be a physical item or piece of knowledge or wisdom that will help them persevere.
  • The Road Back : The hero sees the light at the end of the tunnel, but they are about to face even more tests and challenges.
  • The Resurrection : The climax. The hero faces a final test, using everything they have learned to take on the conflict once and for all.
  • The Return : The hero brings their knowledge or the “elixir” back to the ordinary world.

Breaking Down the Journey: A New Hope

Here we turn to George Lucas’s Star Wars Episode IV: A New Hope .

Note: As with any application of story structure or formula, this is just a hindsight interpretation and implementation of The Hero’s Journey to this cinematic tale. There can and will be variances. 

The Ordinary World

Luke Skywalker is living a normal and humble life as a farm boy on his home planet of Tatooine.

Call to Adventure

Luke is called to his adventure by two individuals — R2-D2 and Ben Kenobi. Luke triggers R2-D2’s message from Princess Leia and is intrigued by her and the message.

When R2-D2 escapes to find Ben Kenobi, Luke follows and is later saved by Kenobi, who goes on to tell Luke about his Jedi heritage. Kenobi suggests that he should come with him to Alderaan.

Refusal of the Call

Luke refuses Kenobi, telling him that he can take Kenobi and the droids as far as Mos Eisley Spaceport — but he can’t possibly leave his Aunt and Uncle behind for some space adventure.

Crossing the Threshold

When Luke discovers that the stormtroopers searching for the droids would track them to his farm, he rushes to warn his Aunt and Uncle, only to discover them dead by the hands of the Empire.

When Luke returns to Kenobi, he pledges to go with him to Alderaan and learn the ways of the Force like his father before him.

Tests, Allies, and Enemies

After Luke, Kenobi, and the droids hire Han Solo and Chewbacca to transport them off of Tatooine and onto Alderaan, Kenobi begins Luke’s training in the ways of the Force.

Wielding his father’s lightsaber, Kenobi challenges him to block the shots of a small training remote. At first, he can’t do it. But then Kenobi gives him a helmet to wear that has a blast shield that blocks his view of the remote. Kenobi teaches him to reach out and trust his feelings.

Luke blocks three shots from the remote — blind.

The Approach

The plan to defeat the Galactic Empire is to bring the Death Star plans to Alderaan so that Princess Leia’s father can take them to the Rebellion. However, when they arrive within the system, the planet is destroyed. They come across the Death Star and are pulled in by a tractor beam, now trapped within the metaphorical belly of the beast — The Galactic Empire.

As Kenobi goes off to deactivate the tractor beam so they can escape, Luke, Han, and Chewbacca discover that Princess Leia is being held on the Death Star with them. They rescue her and escape to the Millennium Falcon, hoping that Kenobi has successfully deactivated the tractor beam.

Kenobi later sacrifices himself as Luke watches Darth Vader strike him down. Luke must now avenge his fallen mentor and carry on his teachings.

Luke has saved the princess and retrieved the Death Star plans. They now have the knowledge to destroy the Galactic Empire’s greatest weapon once and for all.

The Road Back

Luke, Leia, Han, Chewbacca, and the droids are headed to the hidden Rebellion base with the Death Star plans. They are suddenly pursued by incoming TIE-Fighters, forcing Han and Luke to take action to defend the ship and escape with their lives — and the plans.

When they are triumphant, they realize that the Galactic Empire must be tracking them. But they have no choice but to race against time to take the plans to the Rebellion and prepare for battle.

The Resurrection

The Rebels — along with Luke as an X-Wing pilot — prepare to take on the Death Star.

The Rebellion and the Galactic Empire wage war in an epic space battle. Luke is the only X-Wing pilot that was able to get within the trenches of the Death Star. But Darth Vader and his wingmen are in hot pursuit. Just as Darth Vader is about to destroy Luke, Han returns and clears the way for Luke.

Luke uses the Force to guide his aiming as he fires upon the sole weak point of the deadly Death Star, destroying it for good.

Luke and Han return to the Rebellion base, triumphant, as they receive medals for the heroic journey. There is peace throughout the galaxy — at least for now.

Hopefully now you have a better idea of what the Hero’s Journey looks like in the wild. Be sure to check out our other Hero’s Journey Breakdowns for more examples from cinema’s greatest films.

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hero's journey archetype movies

The Eight Character Archetypes of the Hero’s Journey

hero's journey archetype movies

Classic trickster.

In The Hero of a Thousand Faces , Joseph Campbell demonstrated that many of the most popular stories, even over thousands of years and across cultures, shared a specific formula. That formula is now commonly referred to as mythic structure, or the hero’s journey . Even if you’ve never heard of it before, you’ve consumed this “ monomyth ” in works like Star Wars and Harry Potter.

Along with a specific plot structure, the hero’s journey has a repeating cast of characters, known as character archetypes. An archetype doesn’t specify a character’s age, race, or gender. In fact, it’s best to avoid stereotyping by steering clear of the demographics people associate with them. What archetypes really do is tell us the role a character plays in the story. Thinking about your characters in terms of their archetype will allow you to see whether they’re pulling their weight, or if they’re useless extras.

There are many way to categorize the cast of the hero’s journey, but most central characters fall into one of these eight roles:

J men in black

The hero is the audience’s personal tour guide on the adventure that is the story. It’s critical that the audience can relate to them, because they experience the story through their eyes. During the journey, the hero will leave the world they are familiar with and enter a new one. This new world will be so different that whatever skills the hero used previously will no longer be sufficient. Together, the hero and the audience will master the rules of the new world, and save the day.

J is the heroic tour guide in Men in Black . A cop at the top of his beat, he is suddenly taken behind the masquerade of everyday life. Waiting for him is a world where aliens are hiding among everyday people, and a galaxy can be as small as a marble. While he’s still a cop in essence, his adversaries – and the tools he must wield against them – are nothing like he’s previously known.

Other heroes: any protagonist fits the hero role. Some heroes from stories that stick closely to the hero’s journey are Dorothy from The Wizard of Oz, Alice from Alice in Wonderland, and Luke Skywalker from Star Wars.

glinda

The hero has to learn how to survive in the new world incredibly fast, so the mentor appears to give them a fighting chance. This mentor will describe how the new world operates, and instruct the hero in using any innate abilities they possess. The mentor will also gift the hero with equipment, because a level one hero never has any decent weapons or armor.

Glinda the Good Witch from The Wizard of Oz appears soon after Dorothy enters Oz. She describes where Dorothy is, and explains that she’s just killed the Wicked Witch of the East. Then, before the Wicked Witch of the West can claim the ruby slippers, Glinda gifts them to the hero instead.

Often, the mentor will perform another important task – getting the plot moving. Heros can be reluctant to leave the world they know for one they don’t. Glinda tells Dorothy to seek the Wizard, and shows her the yellow brick road.

Once the hero is on the right path and has what they need to survive, the mentor disappears. Heroes must fight without their help.

Other mentors: Morpheus from the Matrix, Dumbledore from Harry Potter, and Tia Dalma from Pirates of the Caribbean 2 and 3.

samwise

The hero will have some great challenges ahead; too great for one person to face them alone. They’ll need someone to distract the guards, hack into the mainframe, or carry their gear. Plus, the journey could get a little dull without another character to interact with.

Like many allies, Samwise looks up to Frodo in The Lord of the Rings . He starts the story as a gardener, joining the group almost by accident. He feels it’s his job to keep Frodo safe. But not all allies start that way. They can be more like Han Solo, disagreeable at first, then friendly once the hero earns their respect. Either way, the loyalty and admiration allies have for the hero tells the audience that they are worthy of the trials ahead.

Other allies: Robin from Batman, Ron and Hermione from Harry Potter, and the Tin Man from The Wizard of Oz.

boar-spirit-princess-mononoke

The herald appears near the beginning to announce the need for change in the hero’s life. They are the catalyst that sets the whole adventure in motion. While they often bring news of a threat in a distant land, they can also simply show a dissatisfied hero a tempting glimpse of a new life. Occasionally they single the hero out, picking them for a journey they wouldn’t otherwise take.

The great boar demon that appears at the beginning of Princess Mononoke is a herald bearing the scars of a faraway war. Ashitaka defeats him, but not without receiving a mark that sends him into banishment. This gets the hero moving and foreshadows the challenges he will face.

Heralds that do not fill another role will appear only briefly. Often, the herald isn’t a character at all, but a letter or invitation.

Other heralds: Effie from the Hunger Games, R2D2 from Star Wars, and the invitation to the ball in Cinderella.

5. Trickster

dobby

The trickster adds fun and humor to the story. When times are gloomy or emotionally tense, the trickster gives the audience a welcome break. Often, the trickster has another job: challenging the status quo. A good trickster offers an outside perspective and opens up important questions. They’re also great for lampshading the story or the actions of the other characters.

Dobby from Harry Potter is an ideal trickster. He means well, but his efforts to help Harry Potter do more harm than good. And every time he appears in person, his behavior is ridiculous. However, underlying the humorous exterior is a serious issue – Dobby is a slave, and he wants to be free of his masters.

Other tricksters: Luna Lovegood (also from Harry Potter), Crewman #6 from Galaxy Quest, and Merry and Pippin from LoTR.

6. Shapeshifter

dr-elsa-last-crusade

The shapeshifter blurs the line between ally and enemy. Often they begin as an ally, then betray the hero at a critical moment. Other times, their loyalty is in question as they waver back and forth. Regardless, they provide a tantalizing combination of appeal and possible danger. Shapeshifters benefit stories by creating interesting relationships among the characters, and by adding tension to scenes filled with allies.

Dr. Elsa Schneider, from Indiana Jones and the Last Crusade , is a very effective shapeshifter. Even after she reveals she is working for the enemy, she and the hero still have feelings for each other. She allows him to steal an item back without getting caught, and he allows her to discover the McGuffin with him. But the distrust between them remains.

Other shapeshifters: Gollum from LoTR, Catwoman from Batman, and Gilderoy Lockhart from Harry Potter.

7. Guardian

Stardust wall guardian

The guardian, or threshold guardian, tests the hero before they face great challenges. They can appear at any stage of the story, but they always block an entrance or border of some kind. Their message to the hero is clear: “go home and forget your quest.” They also have a message for the audience: “this way lies danger.” Then the hero must prove their worth by answering a riddle, sneaking past, or defeating the guardian in combat.

The Wall Guard in Stardust is as classic as guardians get. He stands alone at a broken section of stone wall between real world England and the fairy realm of Stormhold. The guard is friendly when Tristan tries to pass into the fairy realm to start his adventure, but he carries a big stick and he’s not afraid to use it.

Other guardians: The Doorknob from Alice in Wonderland, the Black Knight from Monty Python and the Holy Grail, Heimdall from Thor.

faux-darth-vader

Shadows are villains in the story. They exist to create threat and conflict, and to give the hero something to struggle against. Like many of the other archetypes, shadows do not have to be characters specifically – the dark side of the force is just as much a shadow for Luke as Darth Vader is.

The shadow is especially effective if it mirrors the hero in some way. It shows the audience the twisted person the hero could become if they head down the wrong path, and highlights the hero’s internal struggle. This, in turn, makes the hero’s success more meaningful. The reveal that Darth Vader is Luke’s father, right after Luke had ignored Yoda’s advice, makes the dark side feel more threatening.

Other shadows: Voldemort from Harry Potter, Sauron from LoTR, and Maleficent from Sleeping Beauty.

It’s unusual for stories to have exactly one character per archetype. Because archetypes are simply roles a character can take, Obi Won and Yoda can both be mentors, J can be a hero and a trickster, and Effie Trinket can be first a herald, then later an ally. While you shouldn’t rush to add archetypes that are missing, any character that fits more than one is probably important to the story. If you have a character that doesn’t fit any, make sure they are strengthening, and not detracting from, your plot.

Learn More About These Archetypes

The Writer's Journey

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Comments on The Eight Character Archetypes of the Hero’s Journey

Thanks for this great guide!!

Thank you, very informative. Gives a better understanding on how to create a story and “important” NPCs.

Like your name. :)

I like your name

I have a question. In Disney’s/ABC’s Once Upon a Time would you consider Rumplestiltskin/The Dark One to be a Trickster or a Shapeshifter? He’s not a ‘true’ villain though the writer’s class him as a villain. He’s way too complicated to just be a villain!!! He does evil things, bad things, neutral things and sometimes good things, but he keeps changing back and forth. He has the ability to love (his son and his wife Belle) but he ALWAYS puts power above them (it’s more important to him than his son or wife). I always thought of him as ‘the Trickster’ but when I read your description of the Shapeshifter it started me thinking again! hmmmmmm

I haven’t watched enough Once Upon a Time to tell you for sure based on my personal knowledge of Rumplestiltskin, but if he is often working together with the good guys but is liable to betray them or do other bad things, he’s probably a shapeshifter. Tricksters almost always provide comic relief. In the few episodes I watched, it did not look like Rumplestiltskin was a comical character.

However, because the archetypes are roles, characters can have more than one or change what they are. It sounds like sometimes when he is doing especially bad things, he might be a Shadow temporarily.

Shapeshifter

Dianne its a very good question but its really what you think he is.he is apart of many difrent grous and some arnt on this site . The most common thing ppl think he is is a villan but it really isnt like that at all but its up to you. hope i help . sincerely wesh

Would I be right in saying that Magneto in X-Men would be considered a shapeshifter?

Based on my very crude knowledge of X-Men, Magneto is mostly a shadow. Like a good shadow, he is a dark reflection of Professor X. However, he also takes on the role of shapeshifter during their temporary alliances.

No no, the shapeshifter is Mystique. ;)

HA! Good one :D

She can turn into other people, too, so, in literal sense, she is one. I think Chris was talking figuratively.

You’re Welcome!!!!!!!!!!

Msytique es da best chicka in da world mahhh boi

dont do drugs kids

bahahahahah

The description of the shadow is a little misleading. He is not the antagonist, and not evil. He mirrors the side of the hero that he/she is not aware of, but must acknowledge in order to continue and be sucessful on his/her journey.

The Star Wars example with the cave sets it: Yes, Darth Vader is evil (he is antagonist and shadow all in one), but he is also Lukes father. Therefore, he wasn´t always evil. Luke knows this.

A great example for a shadow in film are the two girls in American Beauty. Angela is Janes Shadow. She represents everything that Jane must leave behind in order to get on with her life, find her destiny etc. But Angela is not evil. She is a rather normal teenager. She is Janes friend.

Interesting approach :) (I’m not being ironic)

Usually, shadows are antagonists.

I’m not super familiar with American Beauty, so I could be totally wrong on this, but it sounds like the character dynamic you are describing is the use of a foil. A foil is character who starkly contrasts with attributes of a character (nearly always the main character) in order to highlight certain attributes of a character.

The Shadow is most definitely the opposing force in a literary work. It is true that the shadow – when it is a character – is most effective if it is also a foil of the protagonist as this helps to illustrate how the hero’s conflict is as much internal as external, but existing expressly to mirror the hero in some way is not a defining feature of the shadow.

The villain of American Beauty is societal pressure to be “normal” and the havoc it wreaks on people who are unique and special.

All the characters in the movie in some way rebel against that pressure, some prevail and others are destroyed.

It would be interesting to think up ways to realign quest stories to make different figures the protagonist. Like, say, in the Matrix, they really had me going that Neo wasn’t the one – I thought it would turn out to be Morpheus. Which would mean we were seeing Morpheus’s Hero journey through the eyes of one of his last Guardians (the obstacle preventing Morpheus seeing the Hero he sought was himself).

That would have been really cool. Nobody thinks of themselves as the hero (no competent person anyway). And it would fit perfectly with the Oracle telling Trinity that she would love The One, because love can also be fraternal.

I have only a secondary knowledge of Science Fiction and mythical creatures, gleaned from sitting with my husband and son when they watch shows in the same room with me. I found your page very informative, interesting, and helpful so that I may understand what I am watching Sci-Fi shows or shows about mythology with my family. Thank you.

Thanks for this article! I am actually a sculptor building a portfolio for character modeling. I was told by an industry recruiter to include different archetypes. For the longest time I only vaguely knew what he meant until I read your post. Currently reading the recommended book – excellent by the way! – which I see is the industry bible on this subject. I now have a much clearer picture on what direction to take my work! I also am now starting to see the types as I watch and read things. Great article :-)

I actually feel like Snape is a better example of the shapeshifter than Lockhart.

Good point. He’s always portrayed as evil … up until the end, when you see he was on the other side the whole time.

Zuko from Avatar the Last Airbender seems to be a perfect shapeshifter to me.

Yes. The most common form of the shapeshifter is one who begins as Ally and betrays the hero, but a character taking the inverse course of action is also an example of a shapeshifter. What defines the shapeshifter is that there is at least a key moment where the audience is left to wonder for themselves if the character is friend or foe. Zuko is also a wonderfully written character who undergoes a Heroes quest of his own with Iroh serving as his mentor and Azula taking on the role of shadow. He can be viewed as many roles in series depending on which part of the series you are thinking about.

Sir Didimus (sp?) from Labyrinth would be a penultimate Guardian.

Welcome to the Mythcreants comment section, Jemma Caffyn!

p.s. You have the same name as my favorite scientist (a made-up spec fic scientist, of course)

what about a villian that goes from bad to good?

Unless somehow showing up as the shadow, redeemed villains are not part of Joseph Campbell’s monomyth. The overwhelming majority of myths and stories written before the romantic period had clear villains and heroes. Nietschze explained this by saying that all myths are morality tales; if people believe that there is a definite good and evil then it will be easier for them to accept anything their leaders do so long as their is a greater enemy. It is no coincidence that so many mythical heroes are of noble birth. It has even be argued that morally ambiguous characters are a feature of democracy ( https://www.theatlantic.com/entertainment/archive/2017/03/whats-so-american-about-john-miltons-lucifer/519624/ ).

If you are interested in redeemed villains, this blog has an article and a podcast about them: https://mythcreants.com/blog/creating-your-villains-journey/ https://mythcreants.com/blog/122-redeeming-a-villain/

Can the Drayo State feasibly be attained by a character who doesn’t just confront his or her shadow but cannibalises it and therefore digests the darker side of his or her own nature? Asking for a friend.

Well, first of all, what is the “Drayo State”?

Fantastically useful site & not just for sf & fantasy writers. I’ve learned such a lot. Thanks!

i agree, very useful.

Thanks for helping me do my homework!

Archetypes are kind of like personas in life in general.

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Great adventures: five examples of a hero’s journey.

  • March 2, 2020
  • TEDxMileHigh Admin
  • Art & Design

It’s the common thread woven throughout all storytelling. A lens that can be applied to any film or work of literature where each story will look the same. This arc of character and plot development is called the hero’s journey, and it’s everywhere.

In part one of this series , we learned what the hero’s journey is and the steps a character must take in order to fulfill their quest. We also learned that this story arc is relatable to us because our lives follow a similar pattern. If you still aren’t convinced that the hero’s journey permeates the fictional world, here are five great examples of a hero’s journey from different classics.

Spoiler Alert: If you are unfamiliar with any of these books or movies, skip them! We discuss the entirety of the story, including the end. 

Examples of a Hero’s Journey in Five Stories

This 2009 sci-fi blockbuster became the top-grossing film of all time just 47 days after it premiered. Its success is largely due to the incredible Computer-Generated Imagery (CGI) characters and visual effects that are vibrantly convincing. Underlying messages and morals such as the importance of a peoples’ culture and land conservation accompany the film. While all of these elements play a role in the resounding praise of this film, there’s another reason people loved the film: the main character followed a typical hero’s journey.

Jake Sully starts out as a paraplegic former Marine. He is chosen to be a bodyguard for a research team on a search for a new energy source on the planet Pandora. While on their mission, Sully meets Neytiri, a native of Pandora, and is quickly accepted by her and her people. Sully is then faced with the moral choice to continue his work with the team he came with, and thus destroy the sacred native land, or join the native tribes and fight back against his own people. In the end, he helps save the land and its people and makes a permanent transition from his human body to the able-bodied avatar. 

Sully’s time on Pandora is the perfect example of a hero’s journey: 

  • Separation: He is called to his adventure as a bodyguard, separating himself from his otherwise ordinary life
  • Initiation: The initiation stage involves his meeting Neytiri and his introduction to her native tribe, and his moral dilemma of helping the natives of Pandora or staying with his team
  • Return: His return is marked by the triumph of the natives. He returns to the tribe, physically changed from a human to one of their own, and mentally a new being with a new purpose

2. Marvel’s Spiderman

Another dominating movie franchise is Marvel’s The Avengers and the superhero spin-offs that it consists of. The movies have been a force to be reckoned with in the box office. However, each character had their start as a part of a comic book. Perhaps one of the most classic of this comic-book-hero-turned-movie-star is Spiderman.

The most recent adaptation of this beloved character is in the Marvel Avenger movies and the spin-off hits. In case there is any question that he is a hero, here is his journey in three steps:

  • Separation: After the iconic spider bite, Peter Parker discovers his spider-like powers, prompting his new superhero life. He needs to adapt to life as a teenager with superpowers and fight crime at the same time
  • Initiation: Tony Stark (a.k.a. Iron Man) and the other Avenger superheroes recruit him to help them in their battle against their extraterrestrial enemies
  • Return: In the end, Spiderman returns as Peter Parker to his normal high school life, but is changed by the knowledge of his bigger responsibility as a superhero

Marvel’s Avenger version of Spiderman follows the classic hero’s journey, but we can see a major emphasis on the introduction of a mentor throughout Parker’s adventure. Iron Man serves as a father-like figure and helps Parker not only navigate his newfound superpowers but also how to harness them and use them for good. 

  3. The Wizard of Oz

A beloved novel-turned-film story that includes wicked witches, ruby slippers, and flying monkeys. This film is known for its brilliant use of color to separate real life from the fantasy world of Oz, as well as its iconic song “Somewhere Over the Rainbow.” Dorothy’s journey, however, is different from other examples of a hero’s journey because she is a woman. (In part one we learned about the difference between a hero and heroine’s journey, and Dorothy’s yellow-brick-road path embodies a classic example.)

  • Separation: After the twister drops her house in the magical land of Oz, and coincidentally on top of the Wicked Witch of the East, all Dorothy wants is to return home to Kansas
  • Initiation: On her adventure, she meets three iconic friends, the scarecrow, the tin man, and the lion. They ultimately help her defeat her enemy, the Wicked Witch of the West and find the Emerald City 
  • Return: Dorothy returns home to her family in Kansas only to realize she’s been on an incredible independent adventure

Like Spiderman, Dorothy also has a mentor: Glenda. She advises Dorothy to seek the Wizard of Oz at the end of the yellow brick road. 

The key to a heroine’s journey is overcoming society’s expectations of women . Dorothy does this several times throughout the film, like when she longs for adventure when the expectation is that she lives on her family’s farm. Or the expectation that her new, male friends will help her when she ultimately helps them. Finally, when Dorothy returns home on her own, proving she doesn’t need to rely on her uncles or anyone else to get what she wants.

The other stages of Dorothy’s quest make it one of the many examples of a hero’s journey, but it is this power that she finds as a woman that distinguishes her as a heroine.

4. To Kill A Mockingbird

This Pulitzer-Prize winning novel is at once a coming-of-age story and an attack of racism in the depression-ridden South. The main character and heroine, Scout Finch, grows up conflicted between how she feels and how other people think she should feel.

  • Separation: When Atticus, Scout’s father, and a prominent lawyer, agrees to defend a black man in court, the implications are felt by the entire family. The two kids are alienated at school for their father’s decision
  • Initiation: Their initiation stage takes up the bulk of the story. Atticus remains a prominent mentor to Scout and her conflicted societal views. The elusive Boo Radley remains a friend and helper although never showing his face. The conflict of this novel is woven throughout the story. Scout struggles to understand the racial views of those around her. There is also major discontent from the Maycomb townspeople surrounding Atticus’s decision to defend a black man
  • Return: In the end, Scout finally puts a face to the name when Boo Radley saves her and her brother from a man who disapproved of their father’s case in court. She also realizes that regardless of what other people think, it’s better to do the right thing than cave into societal pressures

Scout can be seen as a heroine on her journey because she defies the expectations of her as a young girl. She also disregards what society thinks of her interactions with black people. She sees no problem with her father defending a black man in court. Although she can feel the discontent from those around her, Scout understands that a person deserves equal treatment despite their race, and she spends most of the novel making that point.

Disney characters and movies follow the hero’s journey.

  • Separation: Aladdin lives as a poor “street-rat” until he fatefully meets the Genie in the Cave of Wonders. With the Genie’s help, Aladdin is transformed from poor bread-stealer to Prince Ali in order to win the heart of Princess Jasmine
  • Initiation: Aladdin is confronted with not only Jafar, the hand to the Sultan but also the moral struggle of living a lie in order to impress the person he loves
  • Return: In the end, Aladdin realizes no magical genie power can truly give him what he wants. After defeating Jafar, he admits to lying about who he is and why he felt he needed to be someone he wasn’t

The emphasis of the return in Aladdin’s hero journey is what is important. He met the Genie and was pushed into this magical adventure as Prince Ali. With the Genie at his side as his mentor, he is able to defeat Jafar, but he realizes the Genie can’t help him with everything. The lesson Aladdin learns about being himself in order to get what he wants is important. It proves that he has had what he needed all along—that is all he will ever need.

The Moral of the Story

From comic books to blockbusters, Pulitzer-Prize novels to classic films, these works have seen varying levels of success. Some were the biggest movies of all time and some were classic novels that are still read generations later. Despite the details in each piece, all of these stories follow the same narrative archetype—the arc of the hero’s journey.

These examples of a hero’s journey are five of many, but they are also proof that this story arc can be applied to any piece of film or literature. I encourage you to apply this arc to any and all of your favorite stories—including your own life.

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8 Key Archetypes of the Hero’s Journey

8 Key Archetypes of the Hero’s Journey

by Lewis / July 14, 2018 / Character Development

Archetypes are something we experience every day…

An older coworker passing along important tips at your new job or a friend turns out to be talking behind your back. Most of us can recognize these as archetypes, but can we apply these familiar patterns to our fictional worlds and characters? The answer is a resounding yes!

Just as we see these character archetypes mirrored in our own lives, they’ll show up in our storytelling as well. Not only do they provide guidelines for making our characters feel like real people, but they can add a whole new layer of complexity and depth to our stories too.

What Is an Archetype?

  • 1 What Is an Archetype?
  • 2 Our Case Study: Solo
  • 3.1 The Hero:
  • 3.2 The Shadow:
  • 3.3 The Mentor:
  • 3.4 The Ally:
  • 3.5 The Threshold Guardian:
  • 3.6 The Herald:
  • 3.7 The Trickster:
  • 3.8 The Shapeshifter:
  • 4 Repeat Archetypes and How They Work
  • 5 Using Archetypes in Your Own Novel

8 Key Archetypes of the Hero’s Journey

An archetype is a repeated motif or trait found in storytelling.

Based on that definition, you might initially think of the classic “damsel in distress” or “knight in shining armor” from European fairy tales. Both of these do fall under the umbrella of archetypes, however, these aren’t the archetypes we’ll be exploring here.

Instead, the character archetypes of the Hero’s Journey are universal archetypes, roles all characters can fill at different points along their journey. These archetypes help you flesh out your story with a complete cast, while ensuring no character exists without a purpose.

“The archetypes are part of the universal language of storytelling, and a command of their energy is as essential to the writer as breathing.” – Christopher Vogler, The Writer’s Journey

While most of these ideas originated with Joseph Campbell’s Monomyth and the Hero’s Journey, these eight universal archetypes are actually based on Christopher Vogler’s The Writer’s Journey. This book is beyond excellent, and breaks down the ideas of Campbell into a more usable storytelling guide—versus the highly academic The Hero With a Thousand Faces .

Both books are well worth your time, but we’ll be covering Vogler’s description of character archetypes here.

Hero's Inner Journey

Of course, throughout this article I’ll assume you have at least a basic understanding of the Hero’s Journey. If you’re not familiar with this story structure, then check out my breakdown of the Hero’s Journey here.

Our Case Study: Solo

solo a star wars story

Rather, Solo is great for studying universal archetypes because each of its characters exhibits archetypal roles in interesting ways. Far from being stereotypes, Solo proves that these universal archetypes are the building blocks for forming unique characters.

For those unfamiliar with the movie, Solo is the origin story of Han Solo from the original Star Wars trilogy—and there will be major spoilers for Solo in this article.

Please enter at your own risk.

If you wish to continue but need a refresher on the plot, check out the Movie Structure Archives entry for Solo. It’ll give you a full breakdown of all the plot points I’ll be referencing here.

The 8 Universal Character Archetypes

You’re likely already familiar with the basics of the Hero archetype. After all, your protagonist will fill this role for most of your story as they overcome their flaws, drive your plot forward, and make important sacrifices.

Ultimately, their decisions will determine the outcome of the Climax .

However, other characters can also wear the Hero archetype at different points in your story. An Ally may become the Hero while your protagonist is incapacitated, or a Trickster may face a sudden change of heart. This dynamic allows other characters to temporarily take the spotlight and fulfill important story functions or resolve subplots.

In our case study, Han Solo fills the role of the Hero, though various Allies such as Val also fill it under special circumstances.

This makes sense because—beyond being on all the posters—this is Han’s journey. He grows the most from beginning to end, and is the catalyst for the movie’s progression. When the cast gets into a tight spot with Dryden Vos, it’s Han’s choices that propel them into the conflict. Not only that, but he is who the audience identifies with the most, meaning he checks all the boxes of the Hero archetype.

Of course, because the Hero is such a central archetype, it also has a whole host of specific traits and trials that go along with it. For more on the Hero’s character arc, check out this article.

The Shadow:

Just as the Hero archetype aligns with your protagonist, the Shadow is linked to your antagonist. This archetype seeks the antithesis of your Hero’s goals, often the destruction of what the Hero wishes to preserve.

Essentially, the Shadow embodies the dark aspects of the Hero.

The Shadow is meant to personify the suppressed wounds and inner struggles that the Hero will need to overcome—and this is why antagonists are often called “foil characters.” They’re a warning about what your protagonist will become if they fail to learn.

Of course, just like many characters can act as the Hero, many characters take on aspects of the Shadow. Your Hero may behave like the Shadow in moments. Allies, Heralds, and Threshold Guardians may do so as well, allowing you to create depth in characters that have thus far served only one purpose.

In Solo, Dryden Vos—from his name to his appearance and demeanor—screams antagonist. Because of this, it’s fairly obvious that Vos serves as the Shadow for most of the story.

However, he’s not the only character who plays this role.

While it’s easy to see Vos as the Shadow, Qi’ra actually fills this archetype in an even more crucial way. You see, Qi’ra’s role as a Shadow is intrinsically tied to Han’s character arc. Both begin from the same place and both are seeking to escape to a better life, but where Han’s journey molds him into a Hero, Qi’ra becomes a Shadow. This is a powerful contrast, and one we’ll be returning to later in the article.

The Mentor:

Acting as the Hero’s main guidance throughout their journey, the Mentor comes in many forms, but they always serve a critical purpose.

An elderly woman giving a soon-to-be bride a magic mirror to see the true face of her new husband or a veteran sports coach training young players both embody the Mentor archetype. This archetype is there to equip the Hero through knowledge, encouragement, and skills that allow them to overcome the conflict of the story and eventually surpass their flaws.

Of course, Mentors are a great opportunity to add depth to a story.

Because of this, Mentors often take on aspects of Threshold Guardians as Heroes prove their worth in exchange for help. Meanwhile, Shadow Mentors may seem to guide the Hero while actually misleading them—sometimes maliciously, sometimes mistakenly.

For example, while Han works under the guidance of a variety of Mentors throughout Solo , Tobias Beckett fills this role most often. He guides Han in how to deal with Vos, he teaches Han about this new world of crime, and he encourages Han at every step to leave it. Tobias clearly wears the mask of the Mentor archetype, but we’ll be coming back to him soon, as that isn’t the only archetype he wears.

The third of the well-known archetypes, Allies are seen in every story.

After all, Heroes need a friend to lean on, someone to lighten the load of the journey or to practice their growing skills with. That’s the role of the Ally, seen through characters like Samwise Gamgee in The Lord of the Rings , or Toto in The Wizard of Oz .

Because of how broad this archetype is, it serves many functions and can take on the aspects of many other archetypes. An Ally might act as a Mentor or may descend into a period of being a Shadow or Trickster. Thanks to this complexity, Allies are a great tool for humanizing your Hero, relieving tension, and furthering explore your story’s themes through subplots.

Fortunately, Ally archetypes are usually easy to identify, and primary Ally for Han is Chewbacca.

Audiences knew Chewie well before the story of Solo began, and he has served the same Ally role throughout the Star Wars series. Chewie is someone for Han to banter with and rely on, and he ends the movie as Han’s only lasting companion. While other characters such as Lando and Qi’ra wear the Ally archetype for only a short period of time, Chewie remains an Ally archetype for the entirety of Han’s life.

The Threshold Guardian:

Often an aspect of the Shadow, Threshold Guardians are there to represent the fears of your Hero and to challenge them as they progress along their journey. Of course, much like the midterm exams you may have had in school, Threshold Guardians aren’t the final test. Still, without your Hero proving they’ve mastered their new skills, these Guardians will prevent them from reaching their final test at all.

While Threshold Guardians are often henchmen of the Shadow, Mentors and Allies can also fulfill this role. For example, an Ally who has second thoughts about their quest might challenge the resolve of your Hero, forcing them to overcome their own doubts to convince their uncertain ally.

One of the primary Threshold Guardians on Han’s journey—though there are many—is a familiar character: Tobias Beckett.

Beckett’s role as a Threshold Guardian cannot go understated, and he actually embodies this role before he takes on the mantle of Mentor. When Han is struggling to get out of the Imperial Army, Tobias refuses to allow him into his gang and even gives him up to Imperial forces as a traitor. Fortunately, Han is persistent, and proves his value to the gang through his quick thinking. Only after he proves himself does Tobias allow him to join, fulfilling the role of the Threshold Guardian.

The Herald:

The Herald’s name gives away much of its function—your story’s Herald is there to give the Call to Adventure, to foreshadow the coming conflict, and to warn the audience that your Hero’s Ordinary World will soon fall away.

Based on this description, the Herald may sound like another aspect of the Shadow, and it certainly can be. However, it can also be a positive force, such as the spitfire young girl who coaxes the lonely bounty hunter out of his shell in, True Grit .

In Solo , the Herald is a character we’ve mentioned before.

From the start of Han’s journey, his mission has been the same—go back for Qi’ra. When he gets caught up with Beckett and his gang, this is still his focus. However, when he finally finds Qi’ra again, she’s not the scrappy child he remembers. This Qi’ra is powerful, elegant, respected, and under the frightening control of Vos.

Suddenly the dynamics of Han’s journey have shifted, and he can no longer live with the “one-day” mentality he had previously been had. His goal becomes urgent and firmly focused on the present, all thanks to Qi’ra’s role as the Herald.

The Trickster:

Next up, we’ll be looking at the Trickster archetype. A classic comedy character seen in sidekicks from a variety of genres, Tricksters are a great way to manage the pace your story. These moments of comedy relieve the tension built up by more action-packed moments, letting your readers take a moment to breathe.

Used in reverse, Tricksters are also great at increasing the weight of key scenes.

A character that’s been light-hearted throughout your story can suddenly turn serious as they approach the Climax. Your readers will take notice, and will soon find themselves anxiously wondering about what’s to come. If this previously comedic character is suddenly changing their tune, then the stakes of the adventure must be rising.

Serving as the Trickster in Solo , we have another repeat character from the original Star Wars trilogy: Lando Calrissian, along with his droid L3-37.

They provide the audience with plenty of antics and absurdities, lightening the mood between darker segments. For periods of the story Lando also serves as an Ally, but his true alliance is always with himself. Fortunately this isn’t malicious and is instead played for laughs, making him a strong Trickster character.

The Shapeshifter:

If you like to fill your stories with suspense you likely have one—if not many—important Shapeshifter characters.

Like the example of the traitorous friend we talked about at the start of this article, the Shapeshifter shows a different face when looked at from different angles. Seductresses, both sexually and in other ways, work to trick the Hero by presenting an alluring offer to their problems while seeking to trap or defeat them when they aren’t looking.

Shapeshifters aren’t always Shadows either.

For instance, the Hero may believe they have an Ally only to find a Shadow, leaving them betrayed and confused. Other times the Shapeshifter may start out as a Shadow, before becoming an Ally later on. This flexibility lets you layer the Shapeshifter archetype into existing characters to create suspense and tension in your story.

Unfortunately for Han, one of his key allies and his Mentor both embody the Shapeshifter archetype, causing suffering on two fronts. For starters, Beckett spends much of the movie acting as a pseudo father-figure, only to betray Han to Vos. This forces Han to kill Beckett to save himself and Chewie, robbing him of his Mentor figure.

Qi’ra engages in a similar betrayal after killing Vos. Han believes he has achieved his goal and that the pair can finally be together, but Qi’ra reveals her allegiance to the Sith and abandons Han. Her betrayal is arguably even more painful for Han than Beckett’s, as it robs him of everything he’s worked towards on his journey.

Repeat Archetypes and How They Work

By this point in the article, you may be wondering…

Why does Qi’ra show up in so many of these archetypes?

Well, to a large extent, this is a sign of how complex her character is. At its core,  Solo is about Han and Qi’ra’s shared journey. While Han takes the traditional Hero’s path, Qi’ra represents the failed Hero.

In Qi’ra’s desperation to improve her life, she accepts the horrible actions committed by herself and other to gain power in exchange for using that power to protect herself. While the Climax sees Han letting go of his past and adhering to his moral compass, Qi’ra gives into her inner struggle, choosing security at the expense of happiness.

Ultimately, her archetypal roles reflect her struggle against herself. In the end, power and safety are more important than anything else—she’s suffered too much to make any other choice.

Using Archetypes in Your Own Novel

Like many other aspects of story structure , the archetypes of the Hero’s Journey are a guide—and as you’ve seen, they can be combined to create an infinite cast of characters. To help manage this complexity, I would recommend thinking of these archetypes in terms of primary and secondary archetypes.

  • Primary Archetype:  the main role the character embodies for the majority of their story.
  • Secondary Archetype: the other, smaller archetypal roles they play during specific moments.

Each character has a primary archetype, such as the Mentor, and at different stages of the journey will wear secondary archetypes, such as the Trickster.

From there, if you feel someone is missing from your cast of characters, look at what archetypes aren’t represented. Likewise, if your cast feels bloated, look for characters with repeated archetypes you can remove or combine into one. As we’ve seen, individual characters can serve many archetypal roles, making extraneous characters often unnecessary.

Above all, I would recommend reading up on both the work of Joseph Campbell and Christopher Vogler. Each of them have a lot to offer, and they go into much more detail than I can here.

How do these archetypes appear in your own story? Let me know in the comments!

Thoughts on 8 key archetypes of the hero’s journey.

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I’ve always thought that Qi’ra chooses safety in the end, yes, but is also a hero because she saves Han. She takes all eyes off of him and buys his freedom by absorbing responsibility.

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Thanks for this.

I loved how detailed these descriptions are. I can see I need to learn more about shapeshifters and my first thought is going to be taking one of the antagonists in my story and shifting them over to being an ally character. This is going to be interesting.

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The Write Practice

Situational Archetypes: 8 Essential Hero’s Journey Scenes Your Readers Want

by David Safford | 0 comments

What do you get when you string a bunch of scenes together? A story! But is it true that your readers also expect certain scenes in each book? Are situational archetypes a real thing?

situational archetypes

Since stories are composed of individual scenes, it makes sense to study them and figure out which scenes your story will need. And if you're going to write a Hero's Journey (in any genre), there are some scenes, or situational archetypes, that your reader will instinctively expect your story to include.

Let's explore the essential scenes to write in your next Hero's Journey story!

8 Situational Archetypes Your Reader Expects

It's good to remember that your reader doesn't begin your story with many conscious expectations. Rather, readers possess a library of knowledge about great stories deep in their subconscious. It's these subconscious feelings that caused Joseph Campbell to start studying great stories, forming his monomyth of storytelling commonly known as the  Hero's Journey .

And within that collection of reader expectations are a few story moments, colloquially known as scenes, that are essential.

The Hero's Journey scenes your reader expects are known as situational archetypes . These are critical moments of growth and sacrifice in your hero's story that must exist for the reader to leave your story feeling deeply satisfied.

When you know what your readers will expect, you can “hack” the process by planning and designing your entire story around these key moments and transitions. That way you know you're writing something that is based on sound storytelling structure!

With that in mind, let's get started.

1. The Choice to Go

After the Call to Adventure , every hero suffers a crisis of decision. Danger is near or is fast approaching. Someone has to step up and take action.

This is the “Choice to Go” situational archetype, and many of these scenes live in our memory. You probably remember when Katniss Everdeen shouts, “I volunteer as tribute!”

If you're a fan of The  Lord of the Rings , you certainly remember when the Council of Elrond dissolves into chaos, only for Frodo to boldly declare, “I will take it! I will take the Ring to Mordor!”

That's when we know it's time for the journey to begin.

But this moment can't be simple. The “Choice to Go” is never an easy one. Prior to making this choice, there is often a rite of passage or quest in which the hero must prove his worth. Sometimes the choice to go is inspired by suffering, often taking the form of “the unhealable wound.”

Frodo acquires one of these on his way to meet Elrond. Huddled in the dark, the hobbits try to fend off the advance of the nine Ringwraiths, severely outmatched in this battle between good and evil. One of them stabs Frodo with a demonic blade, nearly killing him. This encounter with a creature of nightmare serves as inspiration for Frodo to stand up and do what is necessary to put an end to evil.

Choosing to Go on the adventure means sacrificing one's dreams. It means moving toward danger and death, and away from comfort and ease.

Show that struggle. Narrate it into the hero's thoughts or physicality. Does your hero's lip tremble as he forms his words? Does your heroine's mind race with terrified thoughts as she decides to do what is ultimately right?

2. The Initiation

Despite choosing to go on the adventure, the hero cannot yet be prepared for the final challenges that lie ahead. They must be trained.

We're not talking about a training montage, or the kind of training that occurs before the Call to Adventure, like training in kung fu.

We're talking about Initiation. Trial by Fire. The First Test.

Once your hero crosses the threshold into the world of danger, they must be initiated into that world. That means facing a new, staggering danger. It could mean being thrust into a task or challenge in order to join a band of companions.

This happens to Bruce Wayne in the film Batman Begins.  Seeking the power to fight injustice, he comes to the League of Shadows for training; yet once he is finished, he is forced to execute a criminal to prove his loyalty. Foreshadowing the non-lethal pledge he will keep as the Caped Crusader, Wayne refuses and flees from the fortress instead.

The Initiation is essential to your reader because they know that the hero has to grow before facing the story's ultimate evil. Your reader also knows that trying new things comes with unpredictable challenges that you must overcome.

3. The Fall

Every hero makes mistakes. It's what makes them so relateable to the rest of us.

That's why almost every hero's journey has a scene in which the hero cuts corners. This corner-cutting almost immediately leads to the suffering of another, and often of the hero him or herself.

One of my favorite moments in the Harry Potter  series occurs in the sixth book, The Half-Blood Prince.  After enjoying the perks of the potions book that used to belong to the aforementioned prince, Harry finds a spell in its pages: sectumsempra.  Harry has no clue what it does, but isn't afraid to use it when he gets in a battle with Draco. The spell slashes Draco open and blood is suddenly everywhere. Harry immediately realizes he's done something terrible, all because he willingly cut corners both with the book and the spell.

This loss of innocence is common to the human experience, which is why it's so important in our hero's journey stories . We all make mistakes. But when heroes make them, the consequences should be much more severe.

4. The Task

In addition to an Initiating challenge, the hero must complete a Task. This isn't their Initiation, and it isn't the final showdown with the Shadow, either.

So what is it?

The Task is usually a difficult action the hero must complete in order to help some innocent members of society. A classic example of this occurs in Star Wars  when Luke Skywalker is tasked with rescuing a damsel in distress, Princess Leia. Captured by Darth Vader, Leia is practically impossible to rescue, raising the stakes for our hero.

In other situations, the hero must successfully achieve some superhuman deed, such as Odysseus's escape from the Cyclops in The Odyssey.  Despite the great odds against him, Odysseus's cleverness is too much for the bumbling, one-eyed monstrosity.

Like scenes of Initiation, scenes of heroes completing challenging tasks are essential for your story. Not only do they portray your hero's skill or strength, but they portray change.  We learn the most when the stakes are highest, and heroes are no different.

So give your Hero a task, perhaps in your story's second act, and give them something important to learn through the challenge.

5. Death and Rebirth

Many hero's journeys are secretly about the cycle of life. All things die but are somehow reborn, often through the natural recycling of minerals and the energy that sustains life. This duality creates a deeply moving archetypal relationship that you'd be wise to emulate in your story.

One story that captures this quite beautiful is The Lion King.  It does so quite obviously with its opening musical number, but more meaningfully in how it redeems its fallen hero. Diminished into a much lower state of being than a king, Simba lives in the jungle with two loyal retainers, Timon and Pumba.

Yet he is called to action both by Nala, an old friend, and the wise baboon Rafiki. Gazing into a reflecting pool, Simba sees his own face before him . . . until it morphs into the visage of his deceased father. “Remember who you are!” Mufasa commands him. Moments later, Simba departs his life as an outcast and rushes home so he can take his rightful place as king of Pride Rock.

When you explore the polarity of death and rebirth, you are tapping into an energy source as old as life itself. While we all fear death, we rejoice at the idea of birth. Creating such a situation in your story will have incredible power!

6. Nature vs. the Mechanistic World

Have you ever noticed that the hero is often outmatched? And have you ever noticed that this is often true regarding nature and machines?

I'm reminded of Indiana Jones and the Last Crusade.  Indy's father has been taken prisoner in a German tank. Our hero, for his part, rides on a horse.

Outmatched.

Yet there is something about this unfair competition that stimulates the imagination. Audiences love  when the underdog wins, and we all instinctively know that nature will always get bullied by technology.

This is often true with intelligence: We love characters with innate wisdom and loathe characters with educated stupidity. Some people just don't have common sense.

We love loyal animals, a symbolic archetype called the “friendly beast,” because sometimes animals are more faithful than scheming humans.

This relationship also takes form in a variety of character types, including the “earth mother,” a feminine force that can be human, but doesn't have to be. However it appears, it represents the life-giving beauty that is unique to human females, and inextricably ties it to the cycle of nature.

There's something pure about nature, humility, and the animal kingdom, and infusing that purity into your story is a great idea.

7. All Hope Is Lost

If you're familiar with the Twelve Steps of the Hero's Journey , then you know the importance of the Resurrection step. In order for a Hero to truly achieve greatness, they must face death in a deep and meaningful way, suffer a temporary death (physical, emotional, or spiritual), and then rise again, thanks to their ingenuity, strength, purity, cleverness, kindness, or faith.

But in order to make the Resurrection work, there must be death, often at the hands of your story's devil figure. And the key is that this death must feel permanent to the reader.

That's why your Hero's Journey needs an “All Hope is Lost” scene.

Nobody does this better than Pixar. Not only do they make it seem like the hero's life or dreams are dead, Pixar twists the knife by letting the death linger for a moment too long.

In Toy Story , Woody, Buzz, and RC grind to a halt in the middle of the road as the truck — and their owner, Andy — speeds away. They are all alone. Woody watches in despair. He moans, “Oh no, no, no, noooo .” Buzz just lowers his head. In spite of these characters' eternal optimism, this moment of failure is just too much.

And for a moment — a deep, painful moment — all hope is lost.

You feel it. It's a real sensation of loss. And it's essential for your big climax to actually land.

Take this lesson from Pixar: Let your reader feel the loss. Don't undo deaths and don't wipe away losses . . . at least not too quickly. Make sure the reader agrees with your hero that all hope is lost.

Only then will the Resurrection matter.

8. The Hero Returns With Blessings

Reaching the end of your story must be a great feeling. Before concluding, though, you'll want to make sure all those good feelings properly transfer to your reader.

This is another area where many contemporary stories don't quite fulfill their audience's expectations. Especially in film, the story will include a scene where the hero obtains closure by saying goodbye, making amends, or receiving what he or she ultimately wanted.

But, for whatever reason, the film doesn't show the hero sharing the blessings of his or her adventure with the rest of the world. And that's what heroic journeys are ultimately about.

That's why your story needs the situational archetype where the Hero Returns With Blessings.

A film that absolutely nails this is Disney's Moana .

But first, let's rewind.

Heroes go on heroic journeys for one reason: Brokenness.

Heroes are required in order to make things right. And while the external journey focuses on an external villain, the Shadow, there is always a deeper journey occuring in the heart of the hero. That journey is one of selflessness, where the hero learns the value of putting society's needs before anything else.

In Moana , an island nation lives in fear of the water. This fear causes them to foolishly “stay the course,” even when their soil is cursed thanks to the selfishness of the demi-god Maui.

Moana, as you probably know, is selfless from the start. But it isn't about her journey toward selflessness; it's Maui's.

Having redeemed Maui and restored the heart of Te Fiti, Moana returns to her home island triumphant. Resurrection power follows her and the soil of her island is no longer cursed.

But she also brings the blessing of hope and courage. She went beyond the dreaded reef, faced a lava monster, and has come home victorious. Now the rest of her people can venture forth with the same hope and courage.

What a pile of blessings!

Moana  concludes with incredible gravitas because it shows us what our hearts have been longing for: A brave, adventurous young woman leading her people over the sea to explore. It only adds a few minutes to the runtime, and provides the perfect conclusion to an already-great story.

So as you conclude your Hero's Journey, remember: It's not just the hero's story. It's society's story. If your hero comes home and blesses his or her people with gifts like life and hope, your reader will feel similarly blessed.

Plan Around Essential Scenes

These situational archetypes represent key moments in a Hero's Journey. By planning and drafting around these scenes, you can give yourself a simple roadmap to follow. These scenes contain a blend of excitement and danger, as they force the Hero to confront major challenges. They also contain some of the most potent emotional moments of the story.

But more than physical or emotional highs and lows, these scenes represent true-to-life moments that fulfill deep psychological longings in practically every reader. These are moments written into our DNA that we instinctively long for.

Remember: You're writing a story for a reader, and readers come to our stories with a lot of subconscious wants and needs they don't realize they have.

Now you know. And it's your secret weapon to writing a story that they love.

Can you think of other examples of these situational archetypes from stories you love? Tell us about them in the comments .

Choose one of the “essential” scenes above. Freewrite it for fifteen minutes  without editing or worrying about where the scene is going. Just take the characters or personalities from your imagination, plug them into the scene, and go!

When you're done, post your Practice in the Pro Practice Workshop here . Then leave a piece of constructive feedback on another author's post!

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David Safford

You deserve a great book. That's why David Safford writes adventure stories that you won't be able to put down. Read his latest story at his website. David is a Language Arts teacher, novelist, blogger, hiker, Legend of Zelda fanatic, puzzle-doer, husband, and father of two awesome children.

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The Hero’s Journey: Archetype Series, Part 7 – The Ally

Bijgewerkt op: 24 aug. 2023

The Hero’s Journey Archetype series continues with the Ally archetype.

This series focuses on the Hero’s Journey Archetypes as described in The Writer’s Journey by Christopher Vogler.

For the previous parts, check out:

The Hero archetype

The Mentor archetype

The Threshold Guardian archetype

The Herald archetype

The Shapeshifter archetype

The Shadow archetype

The Ally archetype

Story function, types of allies.

Hero's Journey Archetypes: the Ally

Of all the archetypes, the Ally archetype in the Hero’s Journey might just be the easiest to grasp.

Every Hero needs a friend to help them. An Ally is usually a friendly figure who fights by the Hero’s side (Samwise Gamgee, anyone?).

It might go without saying, but a Hero can, of course, have more than one ally.

The Ally archetype can represent some unexpressed or unused parts of the Hero’s character that is needed to do the job. They’re the under-utilized parts that are helpful to our journey in life.

Unlike the Shadow archetype, which exists of the suppressed qualities of the Hero’s personality, an Ally’s characteristics are more or less forgotten by the hero. Allies can be powerful internal forces.

An Ally can have several functions, like being a companion, sparring partner, conscience, or comic relief. They can carry messages, go on errands, or scout locations. They’re someone the Hero can talk to, to make the hero more human and well-rounded as a character. The Ally archetype can also challenge the Hero, so they become more balanced.

Allies help when a problem needs to be solved and allow expression of fear, humor, or ignorance.

Another function of the Ally archetype in the Hero’s Journey is to introduce the reader into an unfamiliar world. The Allies can ask questions that the reader would want to know.

Even when the Hero is not very talkative, or it would be awkward for them to explain something that’s logical to them but illogical to the reader, an Ally can do the explaining. This is the case when an Ally is a character who, as the reader, is new to the world of the story.

There are a lot of possibilities when it comes to Allies. Below you’ll find the most common ones.

These Ally archetypes are especially popular in Westerns, but we also know them from superhero movies and comics, such as Batman and Robin. The sidekick is someone the Hero keeps close, like Tonto in the Lone Rangers.

The relationship between the Hero and the sidekick can be complex; sometimes it even becomes dramatic material on its own. This can happen, for instance, when the two characters fight together but are on opposite spectrums on a cultural or societal issue, causing them to also fight among each other.

Supernatural and non-human allies

Allies don’t have to be exclusively human. Think about Disney’s Tangled : Rapunzel has her green chameleon as an Ally and the horse later on in the story. Or, if we look at the Farseer trilogy by Robin Hobb, Fitz has multiple animal allies throughout the trilogy, most notably Nighteyes the wolf.

But this type of Ally doesn’t need to be an animal. It can be a guardian angel, some other sort of spirit protector, or a minor deity. Or a snowman brought to life with magic.

The Ally doesn’t even need to be supernatural: it can also be an imaginary friend.

What about ghosts? Yes, they can also be Allies. The dead can give aid to the Hero from beyond the grave, either in spirit or in their signature ghostly form.

Last but not least: we live in an increasingly modern world, and AI and robots can very well serve as allies. Let’s also not forget about potential other races in space that can function as allies if you’re writing a science fiction story.

Helpful servants

This is an Ally archetype that occurs a lot in romantic tales. The Ally helps the Hero achieve their goal by carrying love letters or providing disguises and hideaways. Pretty much anything to help the Hero along.

A great example of this Ally archetype (even if it’s not a romantic story) is Planchet, from The Three Musketeers . Or Alfred, Batman’s butler (where the Ally overlaps with the Mentor archetype).

Wrapping Up

That’s it for the Ally archetype of the Hero’s Journey. While it’s an archetype you will likely already instinctively have in your story, it can’t hurt to take a closer look at it and understand what the functions of the Allies in your story are.

As usual, I like to stress that all archetypes are fluid. They don’t need to be one character, and a character can be different archetypes at different points in the story. An Ally can, on occasion, wear the mask of a Mentor, a Shapeshifter, or even the Shadow.

Continue with the Trickster archetype here.

Recente blogposts

The Hero’s Journey: Archetype Series, Part 5 – Shapeshifter

The Hero’s Journey: Archetype Series, Part 6 – The Shadow

The Hero’s Journey: Archetype Series, Part 8 – The Trickster

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COMMENTS

  1. 12 Best Movies That Follow the Hero's Journey

    Warner Bros.' Magical Journey Through Hogwarts. Image via Warner Bros. The Harry Potter series features not just one, but eight of the movies that best follow the Hero's Journey. From Chris ...

  2. The 14 Best Hero's Journey Movies, Ranked By Fans

    The Abyss - Setbacks accumulate and leave the hero with a sense of hopelessness. Atonement - Through reflection and aid from others, the hero regains their way. The Return - The hero resumes their quest, overcomes the main challenge (the climax), then returns to the familiar world as a changed person.

  3. The Hero's Journey Archetype: A Call to Adventure

    This stage of the hero's journey archetype takes up the bulk of the journey. Throughout this stage, the hero meets several sub-points along the way including the introduction of a helper, a mentor, and the trials and temptations that eventually lead to a major conflict. A classic example of this stage is Dorothy's yellow-brick road journey ...

  4. 10 Movies That Follow the Hero's Journey

    The Iron Man is a hero's journey movie… where the hero becomes a mentor to other heros. If you are looking for the perfect archetype of the hero, check out the Iron Man movies… or any Avengers or recent Marvel movie. Tony Stark, in particular, follows the hero's journey framework.

  5. Hero's Journey Movies

    Rate. 65 Metascore. An orphaned boy enrolls in a school of wizardry, where he learns the truth about himself, his family and the terrible evil that haunts the magical world. Director: Chris Columbus | Stars: Daniel Radcliffe, Rupert Grint, Richard Harris, Maggie Smith. Votes: 849,846 | Gross: $317.58M.

  6. STAGES AND ARCHETYPES OF THE HERO'S JOURNEY

    The Hero's Journey is a fundamental paradigm of human experience that is frequently the basis for written stories, drama, and film. It was initially described by mythologist Joseph Campbell, who relied in part on the insights of psychologist Carl Jung. The stages and archetypes of the Journey have been developed and applied to film by ...

  7. Monomyth or "The Hero's Journey" in Movies

    Gandalf and Aragorn lead the World of Men against Sauron's army to draw his gaze from Frodo and Sam as they approach Mount Doom with the One Ring. Director: Peter Jackson | Stars: Elijah Wood, Viggo Mortensen, Ian McKellen, Orlando Bloom. Votes: 1,954,058 | Gross: $377.85M. 8.

  8. 10 Good Movie Examples Showing the Hero's Journey

    Movie Examples Showing the Hero's Journey. 1. The Lord of the Rings Trilogy (2001-2003) The Lord of the Ring Trilogy (2001-2003) Official Supertrailer - Elijah Wood, Ian McKellan Movie HD. Watch on. This classic high fantasy epic is one of the most recognized depictions of the hero's journey in fiction.

  9. Writing the Hero's Journey: Steps, Examples & Archetypes

    This ultimate Hero's Journey writing guide will define and explore all quintessential elements of the Hero's Journey—character archetypes, themes, symbolism, the three act structure, as well as 12 stages of the Hero's Journey. We'll even provide a downloadable plot template, tips for writing the Hero's Journey, and writing prompts ...

  10. The Hero's Journey and Archetypes in Literature

    Updated on July 03, 2019. Carl Jung called archetypes the ancient patterns of personality that are the shared heritage of the human race. Archetypes are amazingly constant throughout all times and cultures in the collective unconscious, and you'll find them in all of the most satisfying literature. An understanding of these forces is one of the ...

  11. What Are The Hero's Journey Archetypes?

    The Hero's Journey Archetypes. So, now we've established the hero's journey trope and how to recognize it, let's move on to the archetypal characters we'll meet in these stories. Whether you're watching a TV series or a movie that follows the hero's journey, these are the archetypes that you'll come across. The Warrior

  12. The Hero's Journey Breakdown: 'Star Wars'

    The "hero's journey" is a common narrative archetype that features the different stages of a protagonist's journey in a story. It has been studied and analyzed by many scholars from a multitude of disciplines, but one interpretation has found its way into the minds of almost every writer studying the craft.

  13. The Eight Character Archetypes of the Hero's Journey

    8. Shadow. Shadows are villains in the story. They exist to create threat and conflict, and to give the hero something to struggle against. Like many of the other archetypes, shadows do not have to be characters specifically - the dark side of the force is just as much a shadow for Luke as Darth Vader is.

  14. Exploring Superman's Hero's Journey: Examining How His Story Fits Into

    Exploring The Timeless Hero's Journey In Movies. The Hero's Journey is one of the most popular archetypal story structures that has been around for centuries. The structure is commonly used in all genres of films, including science fiction, fantasy, and even comedy.

  15. 8 Hero's Journey Archetypes Universally Used for a Protagonist

    The key to nailing the hero is three-fold. You need to give them the following: A physical goal (external want) A nonphysical need (internal need) Relateable character traits that gain the reader's empathy. For your heroic story to work, there must cause conflict between what the hero wants and what they actually need.

  16. Hero's journey

    In narratology and comparative mythology, the hero's journey, ... Campbell's singular the monomyth implies that the "hero's journey" is the ultimate narrative archetype, ... Myth & the Movies: Discovering the Myth Structure of 50 Unforgettable Films. Studio City, CA: Michael Wiese Productions. ...

  17. The Hero's Journey: Archetype Series, Part 8

    The Trickster archetype in the Hero's Journey might be picked up by servants or Allies working for the Hero or Shadow. However, they can also be independent agents with their own agendas. A character who acts as the Trickster often likes to stir up trouble just for the sake of it. These characters are often catalyst characters, which means ...

  18. Great Adventures: Five Examples of a Hero's Journey

    Examples of a Hero's Journey in Five Stories. 1. Avatar. This 2009 sci-fi blockbuster became the top-grossing film of all time just 47 days after it premiered. Its success is largely due to the incredible Computer-Generated Imagery (CGI) characters and visual effects that are vibrantly convincing.

  19. The Hero's Journey: The Archetype Series, Part 2

    In the Hero's Journey, the Mentor archetype represents our Higher Self, the part of us that's wise and noble. They're our conscience, so to speak. Think for a moment about Jiminy Cricket in Pinocchio: he's a manifestation of Pinocchio's conscience, constantly teaching and advising Pinocchio. In the story, the Mentor stands for the ...

  20. The 12 Steps of the Hero's Journey, WIth Example

    The hero's journey is a storytelling pattern found in many works of literature and mythology. Learn all 12 steps of the hero's journey, with examples. ... Christopher Vogler developed a seven-step variation of the hero's journey that emphasizes the role of archetypes in storytelling. Another variation, developed by Maureen Murdock ...

  21. 8 Key Archetypes of the Hero's Journey

    Instead, the character archetypes of the Hero's Journey are universal archetypes, roles all characters can fill at different points along their journey. These archetypes help you flesh out your story with a complete cast, while ensuring no character exists without a purpose. ... For those unfamiliar with the movie, Solo is the origin story of ...

  22. Situational Archetypes: 8 Essential Hero's Journey Scenes Your Readers Want

    1. The Choice to Go. After the Call to Adventure, every hero suffers a crisis of decision. Danger is near or is fast approaching. Someone has to step up and take action. This is the "Choice to Go" situational archetype, and many of these scenes live in our memory.

  23. The Hero's Journey: Archetype Series, Part 7

    The Hero's Journey Archetype series continues with the Ally archetype. This series focuses on the Hero's Journey Archetypes as described in The Writer's Journey by Christopher Vogler. ... These Ally archetypes are especially popular in Westerns, but we also know them from superhero movies and comics, such as Batman and Robin. The sidekick ...