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?