Kal Bashir's 2100+ stage Hero's Journey And Transformation Through A New World / State: February 2007

188 stage Hero's Journey (Monomyth)

*****Disgust*****

It is not unusual for the Hero to be nervous, disgusted or have some strong emotion on departure from the Belly of the Whale and into the Road of Trials.

In Brokeback Mountain (2005), Ennis throws up.

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188 stage Hero's Journey (Monomyth)

*****The Changing*****

Progression through the Cave of the First Threshold is demonstrated. In Brokeback Mountain (2005), "...that's more than I spoke in a year...."

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188 stage Hero's Journey (Monomyth)

*****Innate Suitability*****

Trial 2 often sees the Hero demonstrate innate suitability to the New World and Self. In Brokeback Mountain (2005), Jack Twist hits on the guy in the bar.

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188 stage Hero's Journey (Monomyth)

*****Mentor's Capabilities*****

The Mentor, though he (or she) may have a legend, must demonstrate his (or her) capabilities. In Bonnie and Clyde (1967), Bonnie thinks Clyde's faking the armed robbery backstory.

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188 stage Hero's Journey (Monomyth)

*****Woman as Temptress*****

The Hero is often (but not necessarily) tempted into the Night Sea Journey by a female. In Gladiator (2000), Lucilla persuades Maximus to go along with the plan. In An Officer and a Gentleman (1982), it is Paula's secret that causes Zach to disappear. In Jason and the Argonauts (1963), it is Medea that leads Jason to the King.

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188 stage Hero's Journey (Monomyth)

*****Shape Shifter*****

Meeting or engaging with a Shape Shifter is common at this stage of the Journey (Middle Cave of the First Threshold). Certain commonalities are frequent, including:

Unique Capabilities. It is demonstrated that the Shape Shifter has unique capabilities. In A Fistful of Dynamite (1971), Dr. Villega helps Juan beat the police. In Star Wars (1977), Han owns the Millenium Falcon.

Hero Competitor. In another situation, the Shape Shifter could be the Hero. In Raiders of the Lost Ark (1981), Belloq knows the he and Indy are very much alike.

Clash of Personalities. As the Hero and Shape Shifter are so alike, they often clash.

Romantic Competition. The Shape Shifter often challenges the Hero for the Romantic Challenge. In The Matrix (1999), Cypher is in love with Trinity and attempts to woo her. In Raiders of the Lost Ark (1981), Belloq gives Marion a dress. In Out of Africa (1985), Bror challenges Denys ("you could have asked, Denys...")

Necessary. The Shape Shifter is often needed for the Journey. Else he (or she) comes along anyway). In Star Wars (1977), Han needs convincing. In Raiders of the Lost Ark (1981), Belloq travels to Egypt, only with the Nazis.

Cynicism. The Shape Shifter is often cynical of the Hero. In The Matrix (1999), Cypher doesn't believe that Neo is the One. In Jason and the Argonauts (1963), Acastus is cynical of Jason.

Suspicion. Suspicion about the Shape Shifter's loyalties is raised.

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188 stage Hero's Journey (Monomyth)

*****Unbearable Antagonism*****

Beyond the Engagement with the Antagonism, the Hero requires an Unbearable Antagonism to push out the Inner Resolve. In Brokeback Mountain (2005), Ennis won't be able to come out until November.

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188 stage Hero's Journey (Monomyth)

*****Demonstrating the Magical Gift*****

It is not unusual for the Mentor or Hero to have to demonstrate the Magical Gift. In Brokeback Mountain (2005), Jack uses the gun to shoot the wolf. This often also substitutes as a foreshadow of the coming real use of the Magical Weapon, which is where some obstacle is overcome.

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188 stage Hero's Journey (Monomyth)

*****Final Conflict - New Self*****

Post the Unbearable Antagonism and Inner Resolve stages, the Hero completes the Transformation and becomes the New Self. In Bonnie and Clyde (1967), Bonnie writes a poem in the back of the car. Clyde sends the poem into the paper and it's printed. "...you told my story..."

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188 stage Hero's Journey (Monomyth)

*****Inner Challenge Reminder*****

Post Trial 3, the Hero is often reminded of remaining challenges. In Brokeback Mountain (2005), Ennis gives Alma the kids and Pop throws Jake the keys.

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188 stage Hero's Journey (Monomyth)

*****Curse of the Wizened One*****

Sponsors. Important people, who may have encouraged the Hero's venture, may greet him. This is an audience with the Elders.

Curse of the Wizened One. The Hero, having gained an Expansion of Consciousness, is not easily understood by Ordinary Men. He (or she) may be ridiculed or disowned. In Dances with Wolves (1990), the soldiers don't like and understand why John has "turned injun.".

Elevated Status. Whether appreciated or not, incarcerated or not, the Hero is given some sort of status. Even his jailors appreciate that his presence is a gift or a curse. He is the talk of the Township.

His Word is Law. The returned Hero, even a mysterious and unknown entity, may be recognised as one that has traversed the far corners of the unknown and his (or her) word is given gravity.

Preparation. It is known (if not believed) that engagement with a Greater Antagonism is imminent, hence preparations are not uncommon.

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188 stage Hero's Journey (Monomyth)

*****Authority Figure*****

An Authority Figure often warns the Hero(es) about the rules of the First Threshold. In Brokeback Mountain (2005), Joe tells Ennis and Jack, "...don't get caught, sleep with the sheep, no fire etc..."

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188 stage Hero's Journey (Monomyth)

*****New World of the Transformation and Trials*****

Even though the Hero may be willing, he (or she) may not be happy with the way the progression is turning out. In Bonnie and Clyde (1967), Clyde is angry because they've committed murder.

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188 stage Hero's Journey (Monomyth)

*****Pre Trial and Transformation 2*****

Pre Trial 2, the Antagonism is further expressed. In Bonnie and Clyde (1967), they read the papers; the Barrel gang are being hunted.

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188 stage Hero's Journey (Monomyth)

*****No Going Back*****

There are at least two stages of No Going Back. The first is entry into the First Threshold. In The Matrix (1999), Neo is given the choice between the red and blue pills. In Romancing the Stone (1984), Joan crosses a bridge which falls away; when Jack crosses, the vine falls away. In Bonnie and Clyde (1967), No Going Back is expressed by the killing of the guard as he jumps the car. They're wanted for murder now.

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188 stage Hero's Journey (Monomyth)

***Elixir***

The tangible manifestation of the Hero's desire is made explicit. This is what the Hero wants. It represents the coming move from an Ordinary Self to a New Self. In Back to the Future (1985), Marty wants a 4x4: "someday Jennifer, someday..." In Wall Street (1987), Bud Fox wants to be on the other side of the line: "someday...someday..." In Spiderman (2002), Peter must win over Mary Jane.

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188 stage Hero's Journey (Monomyth)

*****Rescue from Without*****

This is where the Hero is pulled out of No Mans Land or pulled toward the confrontation with the Greater Antagonism. In Goldfinger (1964), Bond is drawn to Fort Knox.

Dastardly Deed. Often, the Antagonist will draw the hero back by means of a dastardly deed. In Spiderman (2002), the Green Goblin kidnaps Mary Jane.

Time Pressure. The Antagonism will initiate a Time Pressure that will speed up the Hero's return. In Goldfinger (1964), there is limited time to diffuse the nuke.

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188 stage Hero's Journey (Monomyth)

*****Hero Guardian*****

The Herald and Hero meeting is never quite as easy as it could be. There is always a block of some sort. Often Guardians block the Heralds from meeting the Hero. But obstacles can be expressed in many ways. In Brokeback Mountain (2005), the boys resist going into Joe's camper.

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188 stage Hero's Journey (Monomyth)

*****Ultimate Antagonism and Inner Resolve*****

The Antagonist commits an act that forces the Hero to reach inside himself and draw Inner Strength and Resolve.

Often, the Antagonist threatens a vile act or an emotional tie. In Return of the Jedi (1983), Vader tells Luke that he will attempt to convert Leia. In Cinderella Man (2005), Jim Braddock thinks of his wife and kids and his previous poverty and begins to win.

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188 stage Hero's Journey (Monomyth)

*****Final Conflict - Period of Dissonance*****

During the Final Conflict, the Shape Shifter may undergo a Period of Dissonance, a Crisis of Confidence, a disparagement of the Self. He (or she) has to decide which way to turn. In Bonnie and Clyde (1967), Pop doesn't like Moss' tattoo. In Gladiator (2000), the soldiers do not like Commodus fighting an injured Maximus.

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188+ stage Hero's Journey (Monomyth)

*****Rescue from Without*****
This is where the Hero is pulled out of No Mans Land or pulled toward the confrontation with the Greater Antagonism. In Goldfinger (1964), Bond is drawn to Fort Knox.
Dastardly Deed. Often, the Antagonist will draw the hero back by means of a dastardly deed. In Spiderman (2002), the Green Goblin kidnaps Mary Jane.
Time Pressure. The Antagonism will initiate a Time Pressure that will speed up the Hero's return. In Goldfinger (1964), there is limited time to diffuse the nuke.

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188+ stage Hero's Journey

*****Final Conflict - Reward or Celebration*****
Post the birth of the New Self, a reward is received. Remaining Challenges are conquered. In Bonnie and Clyde (1967), Bonnie and Clyde finally have sex. Bonnie has an orgasm.

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188 stage Hero's Journey

*****Afterlife Act*****
Sequences include:
The Hero rules on his throne (Conan the Barbarian).
He bears children, most often including a male heir.
He mentors the next generation.
After a while, he is ousted by a Demon King or commits a critical error.
He is exiled to a far off land.
He disappears or dies a mysterious death. In Out of Africa (1985), no one knows exactly how Denys died.

188 stage Hero's Journey (Monomyth): EVERY GOOD HERO TRANSFORMS IN THE FIRST THRESHOLD

Whilst Transformation is the essence of the whole story and can be traced back to before the Call to Adventure and does not end until the Mastery of the Old and New Worlds and Self, a significant change occurs in the First Threshold. Consider this: In The Godfather (1972), before entering the First Threshold, Michael Corleone is having fun with Kay in a hotel, plans to marry her, wants nothing to do with The Family business and is safe because the other Families know he is a "civilian." Upon departure of the First Threshold, he is prepared to kill a police Captain, incite a war between the Families, will be hunted by the other Families and will voluntarily leave Kay behind and disappear to Sicily (where he will further follow the traditional path by marrying a Sicilian).

This part of the Transformation follows a number of distinct steps, a few of which are:

a) Upon entry into the First Threshold, the Hero loses a part of his Old Self and gains a part of his New Self. In Raging Bull (1980), Jake's wife leaves him and he hooks up with Vickie.

b) Within the walls of the Outer Cave, the Hero is a Fish out of Water. In An Officer and a Gentleman (1983), the new recruits are losers who have been "listening to punk rock music and bad mouthing their country."

c) Within each Cave of the First Threshold, the Hero (and subplot Allies) undergo a period of initiation that brings them closer to their New Selves. In Spartacus (1960), Spartacus et al train to become gladiators.

d) Upon exit of the First Threshold, the Hero demonstrates his (or her) Changing. Here he (or she) is slightly more evolved, a marked change from the earlier Devolved State. In The Matrix (1999), after the simulated training, Neo has to jump a real building and survive. Even though he does so badly, this is a marked change from his earlier state, where he refused and was caught by Agent Smith.

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188 stage Hero's Journey (Monomyth): Mentor Characteristics

It is not unusual for the Hero to meet more than one Mentor here. Each has experience in a particular domain. In Hooper (1978), we meet both Jocko and Max.

The Supernatural Aid appears in some mysterious way and magical way. In The Big Lebowski (1998), The Stranger seems to magically appear and disappear.

It is not unusual for the Supernatural Aid to demonstrate his or her capabilities, often by saving the Hero from the danger caused by the Call of the Woodsman.

The Hero may be surprised to meet the Supernatural Aid but he is not surprised to see the Hero. He may have been watching the Hero for some time and knows exactly who he is and calls him by his name. In The Big Lebowski (1998), The Stranger seems to know all about the Big Lebowski.

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Hero's Journey (Monomyth), Screenwriting and Story Structure: Multiple Supernatural Aids (Mentors)

It is not unusual for the Hero to meet more than one Mentor here. Each has experience in a particular domain. In Hooper (1978), we meet both Jocko and Max.

Magically Appears. The Supernatural Aid appears in some mysterious way and magical way. In The Big Lebowski (1998), The Stranger seems to magically appear and disappear.

Demonstrates Capabilities. It is not unusual for the Supernatural Aid to demonstrate his or her capabilities, often by saving the Hero from the danger caused by the Call of the Woodsman.

Knows his Name. The Hero may be surprised to meet the Supernatural Aid but he is not surprised to see the Hero. He may have been watching the Hero for some time and knows exactly who he is and calls him by his name. In The Big Lebowski (1998), The Stranger seems to know all about the Big Lebowski.

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Hero's Journey (Monomyth), Screenwriting and Story Structure: Appreciating the Universal Terminology

The Hero's Journey uses specific terminology, such as "Final Conflict," "Hand-to-Hand Battle," "Unbearable Antagonism," "the Oracle," etc. This misleadingly implies that it applies to only specific story-types (Arthurian Legend, Damsel in Distress, Fantasy, etc). In fact, the terminology applies to the vast majority (in fact, every) successful story or screenplay you may have come across.

The terminology is metaphoric.

For example, in The Godfather (1972), when Sonny is gunned down, what is that if not an Unbearable Antagonism?

In Annie Hall (1977), when Alvie finally goes to meet Annie in Los Angeles, that is a Hand-to-Hand Battle and is the same one-on-one confrontation as Luke and Vader battling it out at the end of Star Wars; the same mano-a-mano confrontation between Riggs and Joshua in Lethal Weapon (1987), the same confrontation as the one between John McClane and Hans Gruber in Die Hard (1988) and the same as the confrontation between Harry and Sally at the end of When Harry met Sally (1989).

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Hero's Journey (Monomyth), Screenwriting and Story Structure: EVERY GREAT STORY ENDS WITH MULTIPLE CATHARSES

Between the Crossing of the Return Threshold and the Mastery of the Two Worlds, a hell of a lot happens that, astoundingly, is rarely given mention, let alone explanation.

One critical process that completes your story is closure with Multiple Catharses (often at least four). The most successful stories do not just end, they use distinct mechanisms to very carefully build and release emotional tension:

In The Godfather (1972), multiple catharses include a) when Michael shoots the heads of the other families, b) when Michael kills Carlo, c) when Tessio is taken away and d) when the lieutenants finally accept Michael's leadership.

In The Shawshank Redemption (1994), multiple catharses include a) when Andy escapes, b) when Andy steals from the Wardens accounts, c) when the Warden kills himself, d) when Capt. Hadley sobs while being arrested and e) when Red finds Andy on the beach.

In Planet of the Apes (1968), multiple catharses include a) when Taylor et al find human remains in the cave, b) when Dr. Zaius reveals that he knew all along, c) when Dr. Zaius lets Taylor and Nova leave and d) when Taylor finds the statue of Liberty.

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Hero's Journey (Monomyth), Screenwriting and Story Structure: Quest Theory

The Hero's Journey is sometimes called "Quest Theory." The term "Quest" misleadingly implies a certain type of story (Arthurian legend, Dragon's Lair, Damsel in Distress, Treasure Hunt) etc.

Replace the treasure in the dragon's lair or the damsel in the tower with that which your Hero requires and you will see that all stories are actually Quests. If it's not a tangible (fire (power), treasure, bride etc) then it's an intangible (New Self; the Quest for Transformation). [The tangible is a metaphor for the intangible].

In Little Miss Sunshine (2006), Olive wants to win the beauty pageant.

In Thelma and Louise (1991), Thelma desperately wants to change her life. When she pulls a gun on the officer, takes his belt and glasses - that is her treasure, the embodiment of her New Self.

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Hero's Journey (Monomyth), Screenwriting and Story Structure: Polarization of the Romantic Challenge

The Hero's Romantic Challenge is important. It is most unusual to find that the Hero (or a major character) has no romantic interest. As such, we learn a little more about the Romantic Challenge than most other characters. This is also one of the characters that usually have their own challenge.

Romantic Challenge's Ordinary World. In Raiders of the Lost Ark (1981), we meet Marion in Nepal.

Romantic Challenge's Capabilities. In Raiders of the Lost Ark (1981), Marion out drinks the Nepalese men.

Romantic Challenge's Challenges. In Raiders of the Lost Ark (1981), Marion refers to being left behind. In Spiderman 2 (2004), MJ needs wants to become an actress.

The Romantic Challenge is just that - a challenge that has to be resolved. As such, the Hero and Romantic Challenge are at this point (or at first meeting) highly polarized. In The Deer Hunter (1978), Michael is a world away from Linda.

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Hero's Journey (Monomyth), Screenwriting and Story Structure: Polarization of the Romantic Challenge

The Hero's Romantic Challenge is important. It is most unusual to find that the Hero (or a major character) has no romantic interest.

As such, we learn a little more about the Romantic Challenge than most other characters. This is also one of the characters that usually have their own challenge.

Romantic Challenge's Ordinary World. In Raiders of the Lost Ark (1981), we meet Marion in Nepal.

Romantic Challenge's Capabilities. In Raiders of the Lost Ark (1981), Marion out drinks the Nepalese men.

Romantic Challenge's Challenges. In Raiders of the Lost Ark (1981), Marion refers to being left behind. In Spiderman 2 (2004), MJ needs wants to become an actress.

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Hero's Journey (Monomyth), Screenwriting and Story Structure: EVERY GOOD HERO HAS AT LEAST FOUR CORE CHALLENGES

In every successful Hollywood story, there are a number of challenges to be resolved. It is not uncommon for the Hero to have at least Four Core Challenges (Inner, Outer, Romantic, Greater Antagonism) and each is mapped onto the Hero's Journey and resolved in a very specific order.

In American Beauty (Academy Award Winner Best Film 1999), Lester Burnham's Inner Challenge is to feel good about himself, his Romantic Challenge is Angela, his Outer Challenge is his marriage with Carolyn and the Greater Antagonism is Col. Frank Fitts, US Marine Core.

In Top Gun (1986, receipts of $176,000,000), Maverick's Romantic Challenge is Charlie, his Inner Challenge is his personal and father's story, his Outer Challenge is getting over Goose's death and the Greater Antagonism is becoming Top Gun.

In Titanic (Academy Award Winner Best Film 1997; No. 1 All-Time USA Boxoffice with receipts of over $600,000,000), Rose's Inner Challenge is to overcome her committment to her mother as well as Jack's lower status, her Romantic Challenge is Jack, her Outer Challenge is Cal and the Greater Antagonism is escaping the sinking ship.

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