Archetypes

Threshold Guardian:
In this chapter, Vogler went into further detail about the threshold guardian. Their purpose is to guard the gateway to the new world and keeping the unworthy from entering (49). The guardians represent the neuroses the hero faces while on the journey. The primary function of the guardian is to test the hero. Once the hero surpasses the obstacle he or she is worthy of the journey.
Herald:
In this chapter, Vogler writes in detail about the herald. The Herald is there to signal change and to motivate the hero. A call to adventure is usually done by the herald. Vogler writes that there are different types of heralds; some are positive, negative, or neutral figures. In some stories the Herald is the villain or his emissary. The herald archetype may come into play at any point of the journey, but is most frequent in Act one to help bring the herald into adventure (57).
Shapeshifter:
In this chapter, Vogler goes into detail about the most difficult to understand archetype. Heroes frequently encounter figures, often of the opposite sex, whose primary characteristic is that they appear to change constantly form the hero’s point of view (59). Shapeshifter often change appearance or mood, and are difficult for the audience and the hero to recognize. Shapeshifters also question loyalty. Vogler talks about femme fatales and hommes fatales as being shapeshifters that confuse and dazzle the hero on the journey.
Shadow:
The shadow archetype represents the dark side, the unexpressed, unrealized, or rejected aspects of something. The negative face of the shadow in stories is projected onto characters usually portrayed as villains, antagonists, or enemies. They represent repressed feelings of the hero. The function of the shadow is to challenge the hero and be a worthy opponent in the struggle. Various characters wear the shadow mask.
Ally:
Heroes on their journeys need travel companions to do their errands, run message, advise them, or warn them. These tasks are done by the ally archetype. Vogler writes that there are several different types of allies; sidekicks, non-human, animal, from beyond the grave, or helpful servants. Plus there can be multiple allies as well.
Trickster:
The trickster archetype is embodies the mischief and desire for change. The trickster archetype, according to Vogler, function is to cut down big egos to size and bring heroes and audiences down to earth. They do this by laughter. They are the comic relief in the story. They are the only character that does not go through change.

Reaction:
In these sections, Vogler goes into further detail about other archetypes. They are easy to read and short. There are not as many examples as in previous sections for the archetypes. So it is a little bit harder to capture the example of what Vogler is writing about. I like how the different archetypes are so versatile and can be more than one character.

Questions:
1. Are there more female or male shapshifters?
2. Could heroes function without allies?
3. Out of these archetypes, which is the most important to a hero? Which is the least?

Archetypes, Hero, Mentor

In the archetype chapter, Vogler goes into detail about archetypes. He explains that they are symbols of human qualities. He also talks about the most common and useful archetypes: the hero, mentor, threshold guardian, herald, shape shifter, shadow, ally, and trickster. He also gives examples of other archetypes in various different stories and films.
In the next chapter, Vogler goes into further detail about the hero archetype. He describes the hero in psychological detail and dramatic functions that the hero brings to the story. Vogler mentions and explains different types of heroes: willing and unwilling, group-oriented, loner, anti-heroes, tragic, and catalyst heroes.
In the final chapter, Vogler writes about the mentor archetype. Campbell named this particular archetype as wise old man or wise old woman. However, this archetype is expressed in all those characters that teach and protect heroes and give them gifts. Vogler breaks down the mentor through psychological function and dramatic function. He also describes the reasons for gifts from mentors and different types of mentors. The different types of mentors are dark mentors, fallen, continuing mentors, multiple mentors and comic mentors.

The three sections were easy to understand through Vogler’s constant comparisons to film and stories. It is easier to understand what Vogler was writing about in the practical guide now that he was gone into further detail about the archetypes. The hero was defined, to a certain extent. It still can be left to the imagination of the reader on who the hero is. The mentor was given the option to be able to wear different archetype masks and not just be a mentor.

Questions:
1. What are heroic qualities and personalities?
2. Since archetypes are symbols of human qualities, are the qualities usually portrayed the ones society wants us be like and not be like?
3. Is one mentor good enough?
4. How come majority of mentors are men? Is it difficult to see a woman as a mentor besides in fairytale settings?

Practical Guide

In chapter one of book one, Vogler talks about the Hero’s Journey and the model the hero follows. First Vogler introduces how Joseph Campbell’s book gave him the structure for the journey. He also introduces the idea of archetypes from Carl Jung.
Finally he describes the model of the Hero’s journey is universal and can be applied to all cultures and every time period. Vogler views the journey in three acts, combined there are twelve stages. By using movie references and examples he explains the different stages the hero goes through.

Vogler’s text was very easy to read. His introduction of Campbell’s text is being described and compared to mythology, which is easily understood. Especially when the audience has not read the text by Campbell. Overall, Vogler attempts to adapt the model into modern culture, and succeeds. The use of films that the audience most likely has seen such as Star Wars or The Wizard of OZ, helps the audience relate.

Questions:
1. In Vogler’s view what is a hero?
2. Are the hero’s values important in telling the story? What are the values that would influence the stages?
3. How does Vogler relate to female heroes?