Ingrid Sundberg, Archplot Structure

Approach to the inmost cave meaning

Having survived the descent into the unknown, the protagonist observes a pause. Santiago meets a thief who robs him and then a crystal merchant who helps him. The protagonist faces tests and meets new people who might turn out to be friends, foes, or rivals. The protagonist gets initiated into the unknown with a harsher set of rules that contrast that of the ordinary world. Santiago leaves his life of a shepherd behind and takes a boat to Tangier. The protagonist commits and descents into the unknown. Santiago meets the gypsy woman and Melchizedek. Hagrid takes Harry to the diagonal alley. Help arrives in the form of a mentor who prepares the protagonist with wisdom, insights, training, and material objects.īruce Wayne meets Ra’s Al Ghul. Santiago stands at a ticket booth selling boat tickets to Africa and backs away at the last minute. The high stakes of the adventure intimidate the protagonist and she succumbs to her fears and insecurities.įrodo is reluctant to leave the shire and travel with the ring. Santiago’s recurring dream of finding treasure at the Egyptian pyramids. To confront the challenge, the protagonist will have to leave their known world and step into the unknown. The comfort zone is disrupted by events that pose a challenge for the protagonist. In the Alchemist, Santiago is a humble shepherd boy who yearns to see the world and find treasure. Harry Potter is an orphan who lives in the shadows of the Dursleys. Benign and naive, she lives an unfulfilled life in her comfort zone. We are introduced to the protagonist in her known and predictable life. These stories speak to our deep-seated psychology and tendencies. In Jungian psychology, the hero’s journey is a part of our collective unconscious - our behavior derived from ancestral memory and experience, ingrained in all members of our species. We all dream, aspire, fear, love, suffer, celebrate, and mourn. Close similarities in stories from completely different and disconnected cultures seem surprising until we consider that the essence of our human condition transcends our differences. Hero’s journey is a monomyth - one myth emerging from elements shared in many cultures. The prevalence, however, does not make it any less special. We come across this story arc so often, we acknowledge its elements and their symbolic significance subconsciously. Mythological tales, folklore, religion, films, fiction, video games, your favorite superhero story - this story structure is everywhere. Hero’s journey is an archetypical story structure where a relatively naive protagonist embarks on a transformative adventure, struggles, suffers, gets tested, slays the symbolic dragon, finds ‘treasure’, and returns home a changed individual. In his book, ‘ The Hero With a Thousand Faces’, Campbell articulated and arranged these patterns into a story structure known as ‘Hero’s Journey’. He discovered that as long as storytelling has existed, human beings have been using the same elements and patterns to tell stories. While studying myths from around the world, mythologist Joseph Campbell observed a universal overarching structure.

Approach to the inmost cave meaning

Though a pilgrimage can be more about education and realization rather than fighting a battle against one’s enemies, a pilgrim loosely follows the Hero’s Journey.įirst, he or she begins their adventure to the new destination, being called to through his or her desires the pilgrim is tested on various challenges throughout the journey, such as rough traveling, becoming lost in the new city, etc finally, he or she eventually reaches the destination, is rewarded with the experience and understating gained from the adventure, and then returns home to inform others about what he or she learned, changing not only other’s lives but his or her own as well. The hero undergoes each of these steps, varying in each piece of literature, and essentially is called to go on this journey, brought to a new atmosphere, is tested, rewarded, returns home, and with their new knowledge acquired on this adventure, solves a problem in their homeland. It consists of three stages, “the Departure, the Initiation, and the Return”, and twelve steps, “the Ordinary World, the Call of Adventure, Refusal of the Call, Meeting the Mentor, Crossing the First Threshold, Tests, Allies, and Enemies, Approach to the Inmost Cave, the Ordeal, Reward, the Road Back, Resurrection, and Return with the Elixir” (“Hero’s Journey 101”). The Hero’s Journey is a classic story structure, probably as old as some pilgrimages, and is written within stories worldwide. Pilgrimages require one to enter freshly into a new world and return home with new knowledge which changes them forever these pilgrimages are very similar to a theme or pattern represented in literature, the Hero’s Journey, as the hero, or in this case, the pilgrim, goes out into an unknown world, experiences a challenge that changes him or her, and returns home with the knowledge to alter his or her way of life. If one travels to a place, gains new knowledge, or changes as a person, whether it be visiting a saint or following one’s favorite soccer team around the world, the journey can be considered a pilgrimage. Nowadays, though, even a “fan traveling to see their favorite band” could loosely be considered a pilgrimage (“Heritage Series”). Patrick” or a journey to the holy ground of Mecca (“Heritage Series”). Usually, pilgrimages are well established and follow specific lines of travel to holy places, like the “tracing of the life of St. That may appear to be outdated, but pilgrimages can still have relevance in one’s life. In the past, pilgrimages typically were spiritual experiences in which people went to pay veneration to a specific religious leader, like a saint. Technically, though, this is called a pilgrimage, and often consists of “venturing into an unknown or foreign place in search of new knowledge and meaning for themselves, others, or a higher good”, leading to a transformation before returning to daily life (“Pilgrimage”). In modern language, this journey is named ‘finding yourself,’ and normally includes people that do not know how they wish to proceed in their life. Many people travel, volunteer, and/or move away from home to grow and change as a person.

okay 1 person wants the essay and that is enough for me.

so obviously all of the goes wrong productions are ensemble pieces. but i firmly believe that if you had to assign a main character to each goes wrong production, annie twilloil would be the main character of the play that goes wrong. why? because her story follows the basic outline of the hero's journey template. it's a simplified version, as this is a comedy show, and the development of characters is not a priority. but the framework is there, and that's what i'll go through with you today.

(disclaimer that this is mostly just a joke, so don't take this too seriously. i am also not a literary expert, so if anything here isn't correct, don't yell at me. feel free to explain anything to me nicely though.)

i am using christopher vogler's 12-step outline as my basis for this, as it is a more modern adaptation of the original 17-step outline, which suits this show better. not every single one of the steps is fulfilled properly, because as i said, annie's character arc isn't exactly a priority in the show, but also because this is usually an outline that portrays a fantasy hero going on a quest to achieve a huge feat and save the world. as this is quite different to anything in tptgw, it's never going to quite fit. as i said, this is all just for fun and is not meant to be perfect.

anyway, without more blabber, here is my interpretation of annie twilloil's story arc through the lens of the hero's journey.

the ordinary world

we are introduced to the hero's regular world. annie's ordinary world is the behind-the-scenes stage manager work. this is where she is comfortable, and she is not yet facing any challenges.

the call to adventure

the hero is called to action in some sort of way. this is obviously when sandra is knocked out and they need someone to fill in for florence. annie is asked to leave her state of normalcy and enter the unknown world (aka go on stage and act).

refusal of the call

the hero may refuse the call at first, which means they either need to be convinced or forced into taking action. annie, at first, is very reluctant to play florence. this means that she is thrust into action against her will.

meeting the mentor

the hero meets the figure who takes the role of the story's mentor. this stage is a little tricky, as there isn't any single character who stands out to me as annie's mentor. the mentor in this case could be all of the other members of cornley, as they are her "guides" through the unknown world. a more abstract mentor could be her script, as it acts like her lifeboat and literally guides her through the show.

crossing the first threshold

the point of no return, the hero finally leaves the ordinary world and enters the unknown world. annie is pushed onstage as florence, thus quite literally making her cross from backstage (ordinary world) to onstage (unknown world).

tests, allies and enemies

the hero faces obstacles, gains allies and faces enemies. while she doesn't really have any allies or enemies to deal with, annie certainly has to go through a lot of tests. this is all of the stuff that "goes wrong" — problems with lines, issues with the set, getting caught in a loop, all the general shenanigans we see in the show. this section is traditionally the longest in the story, which fits with this show, as the whole point is that there's lots of challenges to overcome.

approach to the inmost cave

the inmost cave represents a large challenge that has been looming on the horizon, and in this stage, the hero prepares for this. this is one of the stages that doesn't really apply to annie's arc, as unlike the classic hero, she isn't particularly on a quest to do something, and therefore isn't aware that she's about to face a challenge. if you wanted to make something into this stage, it'd probably be the intermission — she commits herself to playing florence and prepares herself for the rest of the show.

ordeal

this is where the hero faces their biggest challenge yet, which may be their greatest fear or their deadliest foe. for a while, i thought this was probably when annie gets knocked out (because that seems like a pretty big challenge and probably her lowest point) but she doesn't really overcome a challenge here (except for... regaining her consciousness?). it's not particularly something she has to face herself (the other characters are the ones who have to deal with it). instead, i've decided that the best candidate for annie's ordeal is when she drops her script and has to try to act alone. up to this point, she's been gaining confidence, but now she's faced with her worst fear — she doesn't know what to say anymore. she's left vulnerable. this is a challenge she actually has to face herself, and she struggles through without a script until finally she acquires another copy.

reward (seizing the sword)

the hero receives a reward as a result of their overcoming of the ordeal. this is another stage that isn't super clear, because in comedy shows, characters don't really get rewarded. in fact, most of the comedy in this show revolves around the characters suffering at the hands of their incompetence. so annie doesn't particularly receive any reward for facing the ordeal. however, i do think there's a slight element of this, as her efforts assure her that she can handle being an actor, and even being off-script. it renews her faith in herself — something that will assist her during the climax.

the road back

this is when the hero tries to return to the ordinary world — or in annie's case, this is where they attempt to simply finish the play. but the road back isn't necessarily easy, and there are more challenges (like how she is knocked out). this leads up to the final confrontation with the antagonist before the hero returns, and is the preparation for the final battle — the climax of the show.

resurrection

this is the final climax, with the hero's final and biggest challenge. it's the hero's final exam, where we see whether they learned anything from the ordeal. we see that the hero has changed from the beginning of the story — they complete their transformation that has been building since the very beginning. for annie, this is obviously her final fight with sandra, who is really the antagonist in annie's story. we see that her confidence has grown, and her experiences with the ordeal have given her enough faith in her own abilities to fight sandra for the role, even abandoning her script. and in the end, she triumphs — she ends up on stage with sandra tied up behind her.

return with the elixir

the hero returns to their ordinary world with some sort of prize (the elixir). despite having come to the end of their adventure, they have been fundamentally changed as a person. this is mostly unseen in tptgw, but we can assume it happens post-canon. annie returns to being a stage manager (for now. we know she becomes an actor for peter pan goes wrong, but i would assume that for the rest of the in-universe performances of murder at haversham manor, she continues being a stage manager). she returns to her "ordinary world" changed — she has grown as a person, faced dangers, and has become a "master of two realms". the "elixir" she brings with her is as metaphorical as her reward after the ordeal was, but she's gained new skills and confidence, and discovered that she has a taste for acting.

if you got down this far, i admire your patience and dedication. if you have anything you want to add, argue, or comment, feel free. once again, this is just some fun and is not meant to be taken seriously. thank you for reading!

the classic hero’s journey of confederacy of dunces is undertaken not by ignatius j reilly, but by his mother. irene reilly is the hero of the story. here is why.

1. ordinary world (in which we meet our hero): irene is a widow who lives in a broken down house in a shabby new orleans suburb, with her grown unemployable son, a hostile neighbor, and no friends.

2. call to adventure (in which an adventure starts): irene, drunk and distracted by her son’s behavior in the back seat, crashes her ancient plymouth into a building, causing $2000 in damage. her meager widow’s pension is not nearly enough to cover it.

3. refusal of the call (in which the hero digs in their feet): irene encourages her son to look for work to help pay the damages. she reminds him of how competent he is (or should be, after almost 8 years of college and post grad studies).

4. meeting the mentor (in which the hero acquires a personal trainer): irene meets santa battaglia, the raucous, bawdy, plainspoken italian great aunt of patrolman angelo mancuso. santa can see the miserable circumstances of irene’s life, and she begins to invite irene out to bowling with angelo and herself. “we gotta get you out that house, girl.”

5. crossing the first threshold (in which the hero enters the other world in earnest): irene puts a can of soup on the stove for her son before readying herself for a night out with santa and angelo. she tells her son she will probably end up getting a chili dog for dinner at the bowling alley, enraging him.

6. tests, allies, enemies (in which the hero faces new challenges and gets a squad): ignatius is fired from his first position at a clothing company, for attempting to incite a workers’ riot. he takes a new job pushing a weenie wagon downtown, to his mother’s embarrassment. irene deepens her friendship with santa and angelo, over ignatius’s constant protests. through santa, she meets claude robichaux, a kind and rather dimwitted old man with a railroad pension who would really like to get to know her better.

7. approach to the inmost cave (in which the hero gets closer to his goal): irene’s continuous clashes with her son create mounting chaos in their household, and her neighbor miss annie warns them time and again that she will have them evicted for disturbing the peace. she drinks too much in front of claude and breaks down in tears over the ruin her life has become.

8. ordeal (in which the hero faces her biggest test thus far): ignatius gets accidentally caught in a madcap scene at a seedy bar, in which the owner is arrested by the undercover patrolman mancuso for distributing pornographic pictures of herself to high school boys. the atmosphere overwhelms ignatius and, still in his weenie wagon uniform, he faints in the street. a photo of his obese, unconscious body in his white apron is on the front page of the newspaper, sending his mother into paroxysms of shame.

9. reward/seizing the sword (in which the hero sees the light at the end of the tunnel): irene is in the hospital with her son, who is being treated for shock. she tells him that his cruelty, manipulation, and attempts to isolate her will no longer be tolerated. she sees deep into the heart of his inner character as only a mother can, and she tells her son exactly what she sees. she is going to say yes when claude proposes to her, because at least he can be kind to a person, and she deserves some comfort, security, and to be treated decently in her old age.

10. the road back (in which the light at the end of the tunnel might be a little further than the hero thought): irene and ignatius are back at home. one of his old bosses is on the front lawn, asking to speak to ignatius about a fraud case. he is talking about a a $500,000 lawsuit and saying it may be all ignatius’s fault (he is correct). what is irene going to do?

11. resurrection (the last test is met): santa intervenes. “hasn’t everything i’ve ever told you worked out for the best? listen to santa now.” santa is going to call one of her contacts in the psychiatric asylum, and they’re going to come take ignatius away. irene braces herself to do the unthinkable: she says goodbye to her son, kisses his cheek, and disappears into the night, making her way to santa’s house.

12. return with the elixir (in which our hero has a triumphant homecoming): john kennedy toole denies us this, actually. ignatius absconds in his ex-girlfriend’s car, evading the psych ward goons, and that’s the end. we probably don’t need it, though. we know what the future holds for irene, and we are just so proud of her.

Final Project: The hero's Journey

Shot with Nikon D100 and Galaxy S22+ with Natural and Artificial lights.

As someone who is more of an optimist and thinks in a more imaginative way, creating art is a way I can escape the real world. I become lost and fixated in my own little worlds I create. In this series I did just that, creating a new world that tells the tale of a protagonist that goes through a part of the Hero’s journey from literature. This series was created to connect with the protagonist, seen on the far right, and their journey. With that said, following the Hero’s Journey, the series consists of only Act II of the hero’s journey: Crossing the Threshold, Tests, Allies and Enemies, Approach to The Inmost Cave, Ordeal, Reward, and lastly The Road Back. Just as we have our own Hero’s Journey, I believe mine is in the middle, right where Act II would take place.

The goal was to create a type of surrealist landscape story that was composed of six photos. Being inspired by Maggie Taylor, I wanted to create a fantastical series in my own style. With that said being a digital artist, my photos would mix together photography, digital art, and literature. Before taking any photos, I drafted a sketch that would act as my guild for both taking photos and editing them into the surrealistic landscape. Once I began taking photos for this series, I found that new places put myself into the shoes of the protagonist as I stepped foot in this new unexplored world. It was quite a fun experience to just get lost in nature and take pictures of those that looked a little strange and nonsensical.

In conclusion, my series was meant to bring the audience closer into an unknown world which I created. The end goal was to have the viewer connect to the protagonist as they journey through the Hero’s Journey. Whether they connect to the main protagonist who we are following or maybe one of the other figures seen along the way.

Friday of the Second Week in Ordinary Time

Readings of Friday, January 19, 2024

Reading 1

1 SM 24:3-21

Saul took three thousand picked men from all Israel and went in search of David and his men in the direction of the wild goat crags. When he came to the sheepfolds along the way, he found a cave, which he entered to relieve himself. David and his men were occupying the inmost recesses of the cave.

David’s servants said to him, “This is the day of which the LORD said to you, ‘I will deliver your enemy into your grasp; do with him as you see fit.’” So David moved up and stealthily cut off an end of Saul’s mantle. Afterward, however, David regretted that he had cut off an end of Saul’s mantle. He said to his men, “The LORD forbid that I should do such a thing to my master, the LORD’s anointed, as to lay a hand on him, for he is the LORD’s anointed.” With these words David restrained his men and would not permit them to attack Saul. Saul then left the cave and went on his way. David also stepped out of the cave, calling to Saul, “My lord the king!” When Saul looked back, David bowed to the ground in homage and asked Saul: “Why do you listen to those who say, ‘David is trying to harm you’? You see for yourself today that the LORD just now delivered you into my grasp in the cave. I had some thought of killing you, but I took pity on you instead. I decided, ‘I will not raise a hand against my lord, for he is the LORD’s anointed and a father to me.’ Look here at this end of your mantle which I hold. Since I cut off an end of your mantle and did not kill you, see and be convinced that I plan no harm and no rebellion. I have done you no wrong, though you are hunting me down to take my life. The LORD will judge between me and you, and the LORD will exact justice from you in my case. I shall not touch you. The old proverb says, ‘From the wicked comes forth wickedness.’ So I will take no action against you. Against whom are you on campaign, O king of Israel? Whom are you pursuing? A dead dog, or a single flea! The LORD will be the judge; he will decide between me and you. May he see this, and take my part, and grant me justice beyond your reach!” When David finished saying these things to Saul, Saul answered, “Is that your voice, my son David?” And Saul wept aloud. Saul then said to David: “You are in the right rather than I; you have treated me generously, while I have done you harm. Great is the generosity you showed me today, when the LORD delivered me into your grasp and you did not kill me. For if a man meets his enemy, does he send him away unharmed? May the LORD reward you generously for what you have done this day. And now, I know that you shall surely be king and that sovereignty over Israel shall come into your possession.”

Responsorial Psalm

PS 57:2, 3-4, 6 AND 11

R./ Have mercy on me, God, have mercy.

Have mercy on me, O God; have mercy on me, for in you I take refuge. In the shadow of your wings I take refuge, till harm pass by. R./ Have mercy on me, God, have mercy.

I call to God the Most High, to God, my benefactor. May he send from heaven and save me; may he make those a reproach who trample upon me; may God send his mercy and his faithfulness. R./ Have mercy on me, God, have mercy.

Be exalted above the heavens, O God; above all the earth be your glory! For your mercy towers to the heavens, and your faithfulness to the skies. R./ Have mercy on me, God, have mercy.

Gospel

MK 3:13-19

Jesus went up the mountain and summoned those whom he wanted and they came to him. He appointed Twelve, whom he also named Apostles, that they might be with him and he might send them forth to preach and to have authority to drive out demons: He appointed the Twelve: Simon, whom he named Peter; James, son of Zebedee, and John the brother of James, whom he named Boanerges, that is, sons of thunder; Andrew, Philip, Bartholomew, Matthew, Thomas, James the son of Alphaeus; Thaddeus, Simon the Cananean, and Judas Iscariot who betrayed him.

19th January >> Mass Readings (USA)

Friday, Second Week in Ordinary Time 

(Liturgical Colour: Green: B (2))

First Reading 1 Samuel 24:3-21 I will not raise a hand against my lord, for he is the Lord’s anointed.

Saul took three thousand picked men from all Israel and went in search of David and his men in the direction of the wild goat crags. When he came to the sheepfolds along the way, he found a cave, which he entered to relieve himself. David and his men were occupying the inmost recesses of the cave.

David’s servants said to him, “This is the day of which the LORD said to you, ‘I will deliver your enemy into your grasp; do with him as you see fit.’” So David moved up and stealthily cut off an end of Saul’s mantle. Afterward, however, David regretted that he had cut off an end of Saul’s mantle. He said to his men, “The LORD forbid that I should do such a thing to my master, the LORD’s anointed, as to lay a hand on him, for he is the LORD’s anointed.” With these words David restrained his men and would not permit them to attack Saul. Saul then left the cave and went on his way. David also stepped out of the cave, calling to Saul, “My lord the king!” When Saul looked back, David bowed to the ground in homage and asked Saul: “Why do you listen to those who say, ‘David is trying to harm you’? You see for yourself today that the LORD just now delivered you into my grasp in the cave. I had some thought of killing you, but I took pity on you instead. I decided, ‘I will not raise a hand against my lord, for he is the LORD’s anointed and a father to me.’ Look here at this end of your mantle which I hold. Since I cut off an end of your mantle and did not kill you, see and be convinced that I plan no harm and no rebellion. I have done you no wrong, though you are hunting me down to take my life. The LORD will judge between me and you, and the LORD will exact justice from you in my case. I shall not touch you. The old proverb says, ‘From the wicked comes forth wickedness.’ So I will take no action against you. Against whom are you on campaign, O king of Israel? Whom are you pursuing? A dead dog, or a single flea! The LORD will be the judge; he will decide between me and you. May he see this, and take my part, and grant me justice beyond your reach!” When David finished saying these things to Saul, Saul answered, “Is that your voice, my son David?” And Saul wept aloud. Saul then said to David: “You are in the right rather than I; you have treated me generously, while I have done you harm. Great is the generosity you showed me today, when the LORD delivered me into your grasp and you did not kill me. For if a man meets his enemy, does he send him away unharmed? May the LORD reward you generously for what you have done this day. And now, I know that you shall surely be king and that sovereignty over Israel shall come into your possession.”

The Word of the Lord

R/ Thanks be to God.

Responsorial Psalm Psalm 57:2, 3-4, 6 and 11

R/ Have mercy on me, God, have mercy.

Have mercy on me, O God; have mercy on me, for in you I take refuge. In the shadow of your wings I take refuge, till harm pass by.

R/ Have mercy on me, God, have mercy.

I call to God the Most High, to God, my benefactor. May he send from heaven and save me; may he make those a reproach who trample upon me; may God send his mercy and his faithfulness.

R/ Have mercy on me, God, have mercy.

Be exalted above the heavens, O God; above all the earth be your glory! For your mercy towers to the heavens, and your faithfulness to the skies.

R/ Have mercy on me, God, have mercy.

Gospel Acclamation 2 Corinthians 5:19

Alleluia, alleluia. God was reconciling the world to himself in Christ, and entrusting to us the message of reconciliation. Alleluia, alleluia.

Gospel Mark 3:13-19 Jesus summoned those whom he wanted and they came to him.

Jesus went up the mountain and summoned those whom he wanted and they came to him. He appointed Twelve, whom he also named Apostles, that they might be with him and he might send them forth to preach and to have authority to drive out demons: He appointed the Twelve: Simon, whom he named Peter; James, son of Zebedee, and John the brother of James, whom he named Boanerges, that is, sons of thunder; Andrew, Philip, Bartholomew, Matthew, Thomas, James the son of Alphaeus; Thaddeus, Simon the Cananean, and Judas Iscariot who betrayed him.

The Gospel of the Lord

R/ Praise to you, Lord Jesus Christ.

The Heroes Journey Structure Example | Sword Art Online

The Hero's Journey structure can be applied to the story of Sword Art Online. Here is an example of how the Hero's Journey unfolds in the context of Sword Art Online.

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The Ordinary World:

- In the Ordinary World, Kirito is a teenager who plays a VR game called SAO (Sword Art Online). He tests the game during its beta phase and later plays the full game.

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The Call to Adventure:

- The call to adventure occurs when the players of SAO discover that they are unable to log out of the game. They are informed by the game's creator, Akihiko Kayaba, that the only way to escape is to reach the 100th floor and defeat the final boss.

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Refusal of the Call:

- Kirito initially hesitates to accept the call to adventure due to the dangers and risks involved. However, he ultimately decides to take on the challenge and embark on the quest to clear the game.

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Meeting the Mentor:

- Throughout his journey, Kirito encounters various mentors and allies who provide guidance and support. One notable mentor is Heathcliff, the leader of the Knights of the Blood Oath guild, who offers advice and assistance.

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Crossing the Threshold:

- Kirito crosses the threshold when he enters the virtual world of Aincrad and begins his adventure to clear the game. This marks the beginning of his journey and his commitment to the quest.

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Tests, Allies, and Enemies:

- As Kirito progresses through the game, he faces numerous tests, encounters allies who assist him, and confronts enemies and obstacles that stand in his way. These challenges help him grow, learn, and develop new skills.

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Approach to the Inmost Cave:

- The approach to the inmost cave occurs when Kirito and his allies reach the higher levels of Aincrad, where they face more powerful enemies and greater dangers. This is a critical turning point where the stakes are raised, and Kirito must confront his fears.

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Ordeal:

- The ordeal in Sword Art Online is the battle against the final boss on the 100th floor. Kirito and his allies must overcome this life-or-death situation, using all their skills and resources to emerge victorious.

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Reward:

- After defeating the final boss, Kirito and the surviving players are finally able to log out of the game and return to the real world. This serves as their reward for completing the game and surviving the challenges of Aincrad.

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The Road Back:

- The road back represents Kirito's journey back to the ordinary world. He reflects on his experiences in SAO and the impact it had on his life.

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Resurrection:

- The resurrection occurs when Kirito faces new challenges and enemies in subsequent story arcs, such as in the Fairy Dance and Alicization arcs. These challenges test his growth and transformation as a character.

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Return with the Elixir:

- The elixir in Sword Art Online can be seen as the lessons learned and personal growth that Kirito and the other players gained from their experiences in the game. They carry these lessons with them as they continue their lives in the real world.

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This example illustrates how the Hero's Journey structure can be applied to the story of Sword Art Online, taking the audience on a transformative and engaging adventure with Kirito as the protagonist.

Example of the Heroes Journey Structure

One example of the Hero's Journey structure can be seen in the popular film "Star Wars: A New Hope." Here's how the stages of the Hero's Journey are reflected in the story:

The Ordinary World: Luke Skywalker lives a mundane life on the desert planet of Tatooine.

2. The Call to Adventure: Luke receives a distress message from Princess Leia, setting him on the path to adventure.

3. Refusal of the Call: Initially, Luke is hesitant to leave his home and join the Rebellion.

4. Meeting the Mentor: Luke encounters Obi-Wan Kenobi, who becomes his mentor and guides him in the ways of the Force.

5. Crossing the Threshold: Luke leaves Tatooine and enters the larger world of the galaxy, joining the Rebel cause.

6. Tests, Allies, and Enemies: Luke faces trials, makes friends like Han Solo and Chewbacca, and confronts enemies like Darth Vader and the Empire.

7. Approach to the Inmost Cave: Luke and his allies plan to rescue Princess Leia from the Death Star.

8. The Ordeal: The rescue mission leads to a confrontation with Darth Vader and the destruction of the Death Star.

9. Reward (Seizing the Sword): Luke gains knowledge of the Force and becomes a hero in the Rebel Alliance's victory.

10, The Road Back: The Rebels regroup and prepare for the next phase of their struggle against the Empire.

11. Resurrection: Luke faces Vader again and undergoes a transformation as he becomes a more skilled and wise Jedi.

12. Return: Luke returns to the Rebels with the knowledge and power needed to continue the fight against the Empire.

"Star Wars: A New Hope" demonstrates how the Hero's Journey structure can be effectively utilized to create a compelling and timeless narrative that resonates with audiences.

Other Narrative Structures

Three Act Structure:

The three-act storytelling structure divides a narrative into three parts:

Act 1: Setup

Introduction of characters, setting, and premise.

Inciting incident that initiates the central conflict.

Act 2: Confrontation

Rising action with challenges and conflicts.

Midpoint twist or revelation.

Escalating tension leading to a climax.

Act 3: Resolution

Climax with the protagonist facing the central conflict.

Falling action addressing consequences.

Conclusion, resolving character arcs and themes.

This structure provides a framework for crafting a well-paced and engaging story across various mediums.

Hero's Journey:

The Hero's Journey is a storytelling structure identified by Joseph Campbell, comprising several key stages:

The Ordinary World:

Introduces the hero in their normal life.

The Call to Adventure:

Hero receives a call to embark on a journey or face a challenge.

Refusal of the Call:

Hero hesitates but may be encouraged by a mentor.

Meeting the Mentor:

Hero encounters a guide who provides assistance.

Crossing the Threshold:

Hero leaves the ordinary world for the unknown.

Tests, Allies, and Enemies:

Hero faces challenges, makes allies, and encounters enemies.

Approach to the Inmost Cave:

Hero nears a central challenge or dangerous part of the journey.

Ordeal:

Hero undergoes a severe test or faces a powerful adversary.

Reward (Seizing the Sword):

Hero achieves a significant accomplishment or gains insight.

The Road Back:

Hero begins the journey back, facing final challenges.

Resurrection:

Hero faces a challenge, showing transformation.

Return with the Elixir:

Hero returns, bringing lessons or benefits to the ordinary world.

This structure reflects the hero's psychological and spiritual growth through trials and adventures, seen in many myths and stories.

Environmental Storytelling:

Environmental storytelling is a way of telling a story through the design and details of the physical environment. Instead of using explicit dialogue or traditional methods, the setting itself communicates aspects of the narrative. This technique uses the atmosphere, visual cues, and objects within the environment to convey the story, creating an immersive experience for the audience. It is often seen in video games, literature, and film, where details like abandoned spaces and interactive elements play a role in unraveling the narrative.

Hero Journey

Question: What is the hero journey

ChatGPT

The Hero's Journey, also known as the Monomyth, is a narrative pattern that appears in many myths, legends, and stories throughout history. It was first described by Joseph Campbell, an American mythologist, in his book "The Hero with a Thousand Faces." The Hero's Journey outlines a common template for the protagonist's transformation and growth as they undertake a quest or adventure. Here are the key stages of the Hero's Journey:

The Call to Adventure: The hero is presented with a challenge or opportunity that sets them on their journey. It could be a quest, a revelation, or a dire situation that requires action.

Refusal of the Call: The hero initially hesitates or resists the call, often due to fear, self-doubt, or a sense of inadequacy. They may need motivation or encouragement to proceed.

Meeting the Mentor: The hero encounters a wise figure or mentor who provides guidance, advice, or training. The mentor equips the hero with the necessary tools, knowledge, or confidence to embark on the journey.

Crossing the Threshold: The hero leaves their familiar world behind and enters the unknown. This transition signifies their commitment to the adventure and marks the beginning of their transformation.

ests, Allies, and Enemies: The hero faces various challenges, encounters allies who assist them, and confronts adversaries or obstacles that stand in their way. These trials serve as opportunities for growth and development.

Approach to the Inmost Cave: The hero approaches a critical point in the journey, a symbolic or literal "cave" representing their deepest fears, inner conflicts, or the ultimate goal. They must prepare for a significant ordeal or confrontation.

Ordeal and Reward: The hero confronts their greatest challenge, often facing their fears or battling a powerful enemy. Through courage, resourcefulness, or self-sacrifice, they overcome the ordeal and receive a reward or insight that helps them in their journey.

The Road Back: The hero begins their return journey, often pursued by enemies or facing new challenges. They may have gained new knowledge or treasures to share with their world.

Resurrection: The hero faces a final, life-threatening ordeal that tests their transformation and growth. They may experience a symbolic death and rebirth, emerging stronger or wiser.

Return with the Elixir: The hero returns to their ordinary world, bringing back the rewards, wisdom, or lessons from their journey. Their newfound knowledge or insight may benefit their community or serve a greater purpose.

It's important to note that not all stories follow the Hero's Journey framework precisely, and variations exist. However, the underlying structure and themes of personal growth, transformation, and overcoming obstacles remain fundamental elements in the Hero's Journey.

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The one where AI follows the Hero's Journey...

The Ordinary World: Emma is living a mundane life as a bail bondswoman in a small town. She doesn't have any close relationships and is struggling to find her place in the world. She is also deeply in denial about being a lesbian, convinced that it is something that she needs to hide or change about herself.

The Call to Adventure: Emma is approached by a mysterious woman named Regina, who reveals that Emma is actually a princess from a magical realm and that she has been summoned back to her kingdom to help defeat an evil sorceress. What Emma doesn't realize is that the evil sorceress is none other than Regina herself, who has become corrupted by power and is now threatening to destroy the kingdom.

Refusal of the Call: At first, Emma is skeptical and resists the idea of leaving her ordinary life behind. She doesn't believe that she is capable of being a hero or that magic is real. She is also terrified at the thought of confronting her true feelings and being open about her sexuality.

Meeting the Mentor: As Emma begins to accept her new reality, she meets a wise old woman named Snow White who becomes her mentor and helps her understand her true potential. Despite Snow White's encouragement and support, Emma is unable to come to terms with her sexuality and continues to deny her true feelings.

Crossing the Threshold: Emma reluctantly agrees to journey to the magical kingdom and begins her training to become a hero. Along the way, she struggles with accepting herself and hiding her true identity, pretending to be straight and ignoring her feelings for Regina.

Tests, Allies, and Enemies: Emma faces a series of challenges and battles as she trains to become a hero. She makes friends with other heroes and must confront her own fears and insecurities. She also faces discrimination and adversity because of her perceived sexuality, but continues to hide her true identity and deny her feelings.

Approach to the Inmost Cave: Emma and her allies reach Regina's castle and must confront her in a final showdown.

The Ordeal: Emma faces her toughest challenge yet as she confronts Regina and fights to defeat her. She is able to draw on her own strength and determination to defeat Regina and save the kingdom.

The Reward: Emma emerges victorious and is hailed as a hero. She finally confronts her true feelings and admits to herself and to Regina that she is a lesbian. Regina, who has been struggling with her own feelings for Emma, confesses her love and the two of them start a relationship.

The Road Back: Emma returns to her ordinary life, but it is now transformed by her newfound self-acceptance and understanding of her place in the world. She is more confident and self-assured and is proud to be open about her sexuality.

The Return: Emma returns to her kingdom and is celebrated as a hero. She and Regina live happily ever after, inspiring others to be true to themselves and embrace their own identities.

Status: played through in about 11-13 hours, guide was used frequently for story progression

Points: 3,5/5 [3,4375]

I never actually thought I would get the chance to play the first Final Fantasy game, but Pixel Remaster made it possible. I’ll also be more than happy to play II - VI as well. Hard to imagine that a fame game studio like Square Enix released this game when they were on the edge of bankruptcy while JRPGs were something super rare? Final Fantasy is probably one of the best selling JRPG series of all time and it all came to live with this first game. Visually it’ll be hard to compare it to modern games and even gameplay has evolved a lot since the 80s, but I can at least tell you the parts of the games I enjoyed and which seem a bit strange and old to me.

Artwork/Design - 3,5

There are many brilliant looking pixel games out there. Inmost comes to mind here and while the pixel art looks clean and sharp, there is not exactly a whole lot of variety as each town, each building and each dungeon look very much alike to each other. Not much of a surprise considering this was released like 35 years ago. Nonetheless the Pixel Remaster looks so much better than the original game and it’s amazing to think that such structures were possible 30 years ago. Most impressive might have just been the home of the elves where Link may rest in peace (what a disturbing coincidence?).

Enemy designs are also pretty top notch for such an old game, not gonna lie.

Story/Gameplay - 3

Last year I tried Dragon Quest, a game from the same era and it was incredibly confusing. I had the same fears starting with Final Fantasy I but it’s so different and soooo much easier to understand and navigate, which is practically already praise to the gameplay and story. Game styles have changed so much through time, haven’t they? Nowadays you even get a mark on the map or a sign on the screen on where you have to go and how far away it is, but in Final Fantasy it’s all about talking to every damn citizen, perhaps even taking notes because all of them have some small story to tell about locations or persons that all contain a certain role within the story.

Final Fantasy however has one of the most basic, most heroic, JRPG compliant settings. You control 4 characters who happen to be the 4 heroes of light. You may get to know that they’re part of a legend told within the world but why they are the 4 heroes, how they became the heroes or why they all even set out to save the world, we shall never know. Same goes for our main villain Garland. I suppose he’s evil, because Square Enix decided that he’s evil. We all need to have that main villain pulling the strings in the background in order for our JRPGs to become enjoyable… or something like that.

Without personalisation it becomes increasingly hard to actually feel anything for the characters, not to mention that they themselves don’t really talk either. They’re part of a legend which says to go and restore the crystals, so the upcoming doom (lands drying out, lands being flooded, lands being consumed by darkness and so on) doesn’t come to pass. You’re literally being sent from place to place by different NPCs as you journey over the map, visiting underwater ruins, volcanoes, different towns and villages to stock up on supplies, icy and cold areas, caves and mountains… Talking about travelling, there are quite a few methods that become available by progressing in the story: canoe, ship, airships. The last one is by far my favourite but also keep in mind that you can’t land on top of trees, which makes sense but is bothersome if you still gotta run over half a continent.

Through random encounters you fight a multitude of monsters in turn based battle. While random encounters can sadly not be switched off, I didn’t get too bothered by it. I thought the number was actually quite alright to manage the game without grinding more than 1 hour in total. Apart from that I did not understand the turn order in battle which happened to be completely random each turn. You can choose between 4 basic commands: attack, defend, magic, item. They’re all self explanatory. Equipment, Weapons, Items and Spells can be bought in towns all over the world map.

Besides that you get the opportunity to choose certain jobs/roles in the beginning of the game. The only disappointment here is that the roles aren’t explained. I only found out mid-game that the thief job is completely useless, there is no steal ability. That is truly disappointing but it doesn’t mean much combat wise. I still managed to beat the game after all.

Confusing to me was also the fact that visiting an inn is not enough to revive a fallen team member. You have to visit the sanctuary first and then book a night at an inn. I always forgot about that and had to spend money twice, but of course, that is me and my small brain.

Overall the game was great for its time, but leaves much to be desired from a modern perspective. It is also fairly short and storytelling is more of a necessary evil in order to provide interesting gameplay. Nonetheless I enjoyed myself and was happy to find out how the FF series came to be. It’s a good start to a beautiful series of games that have excited me every time a new entry was released.

Enjoyment - 3,5

Harry Potter and the Sorcerer’s Stone: Tests, Allies, Enemies-Reward Stage

The Tests, Allies, and Enemies stage of J.K. Rowling’s novel entitled Harry Potter and the Sorcerer’s Stone occurs while Harry is attending school at Hogwarts. Vogler writes that “the most important function of this period of adjustment to the Special World is testing,” (136). Since Harry is new to Hogwarts, he is tested in various ways. First, his knowledge of various magical disciplines is questioned by his teachers, especially Severus Snape, who asks him several questions on his first day of class. Second, Harry is placed in Gryffindor House, a group which is meant to act as a surrogate family while he is away from home. Within this group, he is meant to forge a place for himself and make friends whose loyalty will be tested as he endures the trials and tribulations of a novel’s hero. Although he has never had friends before, Harry befriends both Ronald Weasley and Hermione Granger, who assist him through several different stages of his Hero’s Journey. For example, Hermione saves Harry from an untimely death by lighting “the hem of Snape’s robes” on fire during a Quidditch match, (Rowling 191). This broke Professor Snape’s and Professor Quirrell’s concentration, breaking the curse that threatened to knock Harry off of his broomstick. Furthermore, both Ron and Hermione helped Harry through the trials that guarded the sorcerer’s stone, allowing him to defeat both Quirrell and Voldemort at the end of the novel. Harry’s rival, his “competition in love, sports, business, or some other enterprise,” also emerges during this stage of Harry’s journey, (Vogler 138). This is due to the fact that Draco Malfoy is constantly trying to get Harry in trouble and prove that he is the better wizard. An example would be when Draco challenged Harry to a duel after hours. Instead of showing up to fight Harry, he told Filch what was about to transpire so that Harry would get into trouble.

The next stage of the Hero’s Journey involves Approaching the Inmost Cave where the hero “pass[es] into an intermediate region between the border and the very center of the Hero’s Journey,” (Vogler 143). This border is the divide between the portion of Hogwarts that had been explored earlier on during the course of Rowling’s narration, and the room containing the sorcerer’s stone. It is the portion of the story in which Harry and his friends encounter the trials created by their professors to guard the sorcerer’s stone. At this point in time, I felt as though the novel’s tension rose as the narration neared its climax. A sense of danger overwhelms Rowling’s narration as Harry and his allies plunge into Hogwart’s depths and begin to “face a series of obstacles and challenges that [would]… prepare them for the life-and-death struggle yet to come," (Vogler 145). The first of these challenges was the one presented by Hagrid: a three-headed dog named Fluffy guards the trapdoor, which leads to the later trials. Harry “put Hagrid’s flute to his lips and blew,” creating a series of notes that put the beast asleep, allowing him and his friends to continue onto the next challenge, (Rowling 275). Then Harry, Ron, and Hermione encounter Devil’s Snare, which Hermione defeated by “sen[ding] a jet of the same bluebell flames she had used on Snape at the plant,” (Rowling 278). Then, the three friends encounter a challenge involving flying keys and broomsticks, a giant game of wizard’s chess in which Ron has to sacrifice himself so that his friends can go on, and a riddle involving a series of potions. By utilizing a mixture of skill and wit, Harry managed to overcome each of the challenges presented to him with the help of his friends, and reach the sorcerer’s stone. I feel as though this is very important because it forced the children to call upon the things they had learned in both the wizarding world and at Hogwarts, allowing them to realize how much they had grown since arriving. As realization dawned upon them, I feel as though each of the children grew stronger and more certain of themselves, preparing them for what would come next.

The Ordeal occurs when Harry encounters both Quirrell and Voldemort in the room containing the sorcerer’s stone. During the Ordeal, the hero faces “the greatest challenge and the most fearsome opponent yet,” (Vogler 155). I feel as though the combined threat, which both Voldemort and Quirrell provided was the toughest thing that Harry had to face because it involved both a mental and a physical challenge. Quirrell presented a mental challenge because he forced Harry to not only acquire the sorcerer’s stone so that he could keep it from Voldemort, but to outwit someone several times his age. Voldemort presented Harry with another challenge: overcoming his fear. This challenge emanated from their past history together, in which Voldemort killed Harry’s parents while he was still a baby. Since Harry knew what Voldemort was capable of firsthand, I feel as though he struggled to find his footing far more than he would have if his only enemy had been Quirrell. In addition, Harry had to outsmart Voldemort as well, which proved especially difficult because Voldemort realized that Harry had the “Stone in [his] pocket,” (Rowling 294). Finally, both Quirrell and Voldemort presented Harry with a physical trial because they were far more experienced and powerful wizards than he was. The only reason that Harry managed to survive was because he got lucky. After Quirrell tried to grab him and he conducted a test “Harry knew: Quirrell couldn’t touch his bare skin, not without suffering terrible pain,” (Rowling 295). By using his newfound knowledge to his advantage, Harry managed to defeat Quirrell by pressing his hands against Quirrell’s exposed skin, keeping Quirrell from attacking him. Harry also managed to stall Voldemort’s return to power, whose fate was tied to Quirrell’s. If Harry hadn’t possessed his secret advantage, then Quirrell and Voldemort would have finished him off—Dumbledore would not have arrived in time to save him.

Typically, after heroes have faced the Ordeal, they “experience the consequences of surviving death… and lay claim to their Reward,” (Vogler 175). InHarry Potter and the Sorcerer’s Stone, this stage arguably occurs both during the Ordeal, and directly following it. The portion of the Reward stage that occurs during the Ordeal is Harry’s acquisition of the sorcerer’s stone. The portion that occurs after the Ordeal transpires when Harry wakes up in the infirmary and has a discussion with Dumbledore about his encounter with both Voldemort and Quirrell. The latter portion of this stage occurs during this time period for a few reasons. First, Harry is rewarded with the continuation of his life and the knowledge that he is a hero. Second, Harry is given the knowledge that ‘“Quirrell did not manage to take the stone from [him],’” preventing Voldemort’s return to power, (Rowling 296). Thus, he could take comfort in the fact that he kept the sorcerer’s stone from falling into the wrong hands—he accomplished what he set out to do. Finally, Harry discovers that the sorcerer’s stone has been destroyed, which will keep it from becoming a threat in the future. In other words, he didn’t go through all of that effort for nothing.

Works Cited:

Rowling, J.K. Harry Potter and the Sorcerer’s Stone. N.p.: Scholastic, 1998.

Vogler, Christopher. The Writer’s Journey: Mythic Structure For Writers. 3rd ed., Michael Wiese Productions, 2007.