History Main / TheHerosJourney

SisterTrope to CameBackWithAVengeance, which follows many of the same story beats but concerns an AntiHero's journey through the CycleOfRevenge.

** [[HeelFaceRevolvingDoor The Shapeshifter]]: someone you don't trust but nonetheless need for their capabilities or knowledge.

* '''Night Sea Voyage''': the Hero must sneak into the BigBad's ElaborateUndergroundBase and retrieve something or someone. Campbell noted that these [[StealthRun Stealth Runs]] were usually at night and often involved water; hence the name.

* [[ActionFilmQuietDramaScene Time out just before the big battle]]: the Heroes gather around a campfire and prepare for the battle, tell stories, confess their feelings, etc. It reminds them of what's at stake, and serves as a [[BreatherEpisode breather]] after all the action of the Road of Trials.

** ''The Ultimate Boon'': getting the reward the hero's been chasing all this time, often but not always a MacGuffin.

* '''Road of Trials''': the path out of the Belly of the Whale. Usually the meat of the story; ''The Writer's Journey'' calls it ''Tests, Allies, Enemies'', while [[Literature/TheSevenBasicPlots Booker]] goes into detail on different types of tests (deadly terrain, monsters, temptations, deadly opposites, and a journey to the underworld). Stops along the way might include:

* '''Road of Trials''': the path out of the BellyOfTheWhale. Usually the meat of the story; ''The Writer's Journey'' calls it ''Tests, Allies, Enemies'', while [[Literature/TheSevenBasicPlots Booker]] goes into detail on different types of tests (deadly terrain, monsters, temptations, deadly opposites, and a journey to the underworld). Stops along the way might include:

* '''The [[CantRefuseTheCallAnymore Spiritual Death and Rebirth]]''' represents a symbolic death for the Hero: the Hero is defeated and killed, their flesh scattered, ready to be reborn and emerge as a new person. If you think the symbolic death ought to come later, don't worry: ''The Writer's Journey'' omits this step altogether in favor of a ''Resurrection'' step just before the end.

The pattern of the Hero's Journey can be found in shows ranging from ''Franchise/StarTrek'' to ''Series/BuffyTheVampireSlayer''. George Lucas claims to have used it as a guide when writing ''Franchise/StarWars''. Traditionally, the Hero's Journey was cyclic; a female Hero's Journey is more likely to be cyclic than a male's. ''Buffy The Vampire Slayer'' fits this to a tee; the movie is the first cycle, and each season roughly corresponds to one additional cycle. The game ''VideoGame/{{Journey}}'' intentionally fits this model exactly, even referring specific steps in the soundtrack's titles. This sequence is so ubiquitous that even ''WesternAnimation/TheSpongebobSquarepantsMovie'' can be shown to follow it.

** Perhaps the best known example is the infiltration of the [[StarWars Death Star]] by Luke Skywalker to rescue Princess Leia.

The pattern of the Hero's Journey can be found in shows ranging from ''Franchise/StarTrek'' to ''Series/BuffyTheVampireSlayer''. George Lucas claims to have used it as a guide when writing ''StarWars''. Traditionally, the Hero's Journey was cyclic; a female Hero's Journey is more likely to be cyclic than a male's. ''Buffy The Vampire Slayer'' fits this to a tee; the movie is the first cycle, and each season roughly corresponds to one additional cycle. The game ''VideoGame/{{Journey}}'' intentionally fits this model exactly, even referring specific steps in the soundtrack's titles. This sequence is so ubiquitous that even ''WesternAnimation/TheSpongebobSquarepantsMovie'' can be shown to follow it.

Compare Campbell's description of the journey with Booker's ''Literature/TheSevenBasicPlots'', especially the plots of ''Overcoming the Monster'', ''The Quest'', and ''Voyage and Return''. Like Campbell, Booker invests a lot of symbolism in the various elements, to the point where messing up the symbolism kills the story for him (for example, he calls ''StarWars'' flawed because they rescued the princess way before they killed the BigBad, when ideally those should happen at the same time, since the death of the Monster ''causes'' the release of the Anima).

-->-- '''Scott Pilgrim''', ''Film/ScottPilgrimVsTheWorld'' ([[DummiedOut deleted scene]])

This approach is not without critics, however. Some critics argue that Campbell's theory has become a [[StrictlyFormula formula]] on how to make hit stories and thus discourages originality since it is unsuitable for every type of story. Others (most notably Creator/GregEgan) feel that the pattern is too [[Administrivia/PeopleSitOnChairs vague and general]] to be a notable pattern among both classical and modern stories. Still others feel that the approach focuses far too much on what good stories do when ''how'' they get there and the problems they must solve are more important. Even when looking at the theory as a description of what already exists, [[https://www.patheos.com/blogs/foxyfolklorist/why-folklorists-hate-joseph-campbells-work/ folklorists complain]] that the pattern isn't really universal, because archetypes are culture-specific, and finding the Hero's Journey in stories from other cultures is only [[Administrivia/SquarePegRoundTrope shoehorning]] them into familiar patterns.

This approach is not without critics, however. Some critics argue that Campbell's theory has become a [[StrictlyFormula formula]] on how to make hit stories and thus discourages originality since it is unsuitable for every type of story. Others (most notably Creator/GregEgan) feel that the pattern is too [[Administrivia/PeopleSitOnChairs vague and general]] to be a notable pattern among both classical and modern stories. Still others feel that the approach focuses far too much on what good stories do when ''how'' they get there and the problems they must solve are more important. Even when looking at the theory as a description of what already exists, [[https://www.patheos.com/blogs/foxyfolklorist/why-folklorists-hate-joseph-campbells-work/ folklorists complain]] that the pattern isn't really universal, because archetypes are culture-specific, and finding the Hero's Journey in stories from other cultures is only shoehorning them into familiar patterns.

This approach is not without critics, however. Some critics argue that Campbell's theory has become a [[StrictlyFormula formula]] on how to make hit stories and thus discourages originality since it is unsuitable for every type of story. Others (most notably Creator/GregEgan) feel that the pattern is too [[Administrivia/PeopleSitOnChairs vague and general]] to be a notable pattern among both classical and modern stories. Still others feel that the approach focuses far too much on what good stories do when ''how'' they get there and the problems they must solve are more important.

* '''Road of Trials''': the path out of the Belly of the Whale. Usually the meat of the story; ''The Writer's Journey'' calls it ''Tests, Allies, Enemies'', while [[Literature/TheSevenBasicPlots Booker]] goes into detail on different types of tests (deadly terrain, monsters, temptations, deadly opposites, and a journey to the underworld). Stops along the way might include:

* '''Departure:''' the Hero leaves the familiar world behind.
* '''Initiation:''' the Hero learns to navigate the unfamiliar world of adventure.
* '''Return:''' the Hero returns to the familiar world.

* '''The {{Herald}} brings a CallToAdventure.''' The Hero learns that they must leave the known world behind and travel into the land of adventure.

* Frequently, the first step on the Journey is [[ItMayHelpYouOnYourQuest receiving some kind of magical tchotchke]] or other '''SupernaturalAid'''

* '''The Land of Adventure:''' the Hero enters a strange, dreamlike realm, where logic is topsy-turvy and the "rules" are markedly different from the ordinary world. Carl Jung identified the Ordinary Realm with the conscious mind, and the Realm of Adventure with the subconscious mind.

* '''The Return''': Also called the ''[[ShapeShifterShowdown Magic Flight]]''; the Hero now has the boon and high-tails it away, with the villain and/or their forces in hot pursuit, the two parties locked in a battle of wits and magic ([[ShapeShifterShowdown especially shapeshifting]]) during the chase. (See the Celtic story of Taliesin's escape from Cerridwen for a textbook example of this.) The Hero's escape may not require actual magic, but ''will'' [[FinalExamFinale require all of the new skills they've learned]] and new [[JustForFun/HowToGatherCharacters allies they've made.]] Or alternately they could realize the AwfulTruth that [[YouCantGoHomeAgain they can't return home]] because sometimes FailureIsTheOnlyOption…

[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/heros_journey4_8462.png]]

This approach is not without critics, however. Some critics argue that Campbell's theory has become a [[StrictlyFormula formula]] on how to make hit stories and thus discourages originality since it is unsuitable for every type of story. Others feel that the pattern is too [[Administrivia/PeopleSitOnChairs vague and general]] to be a notable pattern among both classical and modern stories. Still others feel that the approach focuses far too much on what good stories do when ''how'' they get there and the problems they must solve are more important.

-->-- '''Scott Pilgrim''', ''Film/ScottPilgrimVsTheWorld Scott Pilgrim'' ([[DummiedOut deleted scene]])

->''"Wallace, when my journey began, I was living in an ordinary world. Ramona skated through my dreams, and it was like a call to adventure, a call I considered refusing, but my mentor, that's you, told me if I want something bad enough, I have to fight for it! So I did, there were tests, allies, enemies. I approached a deep cave and went through a crazy ordeal, during which I totally seized the sword! Sadly I died, then I resurrected! Now I realize what I should've been fighting for all along, but before I do, I have to ask one final favor of you… could you put a robe on and hand me the phone?"''
-->-- '''[[Film/ScottPilgrimVsTheWorld Scott Pilgrim]]''' [[note]]It's from a [[DummiedOut deleted scene]], but it still fits.[[/note]]

The concept of the Hero's Journey was described by mythologist Joseph Campbell in [[https://dleell.com/ his book]] ''Literature/TheHeroWithAThousandFaces'' and refined by Christopher Vogler in his book ''The Writer's Journey''.

The concept of the Hero's Journey was described by mythologist Joseph Campbell in his book ''Literature/TheHeroWithAThousandFaces'' and refined by Christopher Vogler in his book ''The Writer's Journey''.

** [[TheGoodKingdom Peaceful Kingdom]]; for a story in which the Hero must ''[[SaveTheWorld save]]'' the world from impending doom, and

** [[TheKingdom Peaceful Kingdom]]; for a story in which the Hero must ''[[SaveTheWorld save]]'' the world from impending doom, and

This approach is not without critics, however. Some critics argue that Campbell's theory has become a [[StrictlyFormula formula]] on how to make hit stories and thus discourages originality. Others feel that the pattern is too [[Administrivia/PeopleSitOnChairs vague and general]] to be a notable pattern among both classical and modern stories. Still others feel that the approach focuses far too much on what good stories do when ''how'' they get there and the problems they must solve are more important.

* '''The Return''': Also called the ''[[ShapeShifterShowdown Magic Flight]]''; the Hero now has the boon and high-tails it away, with the villain and/or their forces in hot pursuit; while they engage in a battle of wits and magic ([[ShapeShifterShowdown especially shapeshifting]]) during the chase. (See the Celtic story of Taliesin's escape from Cerridwen for a textbook example of this.) The Hero's escape may not require actual magic, but ''will'' [[FinalExamFinale require all of the new skills they've learned]] and new [[JustForFun/HowToGatherCharacters allies they've made.]] Or alternately they could realize the AwfulTruth that [[YouCantGoHomeAgain they can't return home]] because sometimes FailureIsTheOnlyOption…

->''"Wallace, when my journey began, I was living in an ordinary world. Ramona skated through my dreams, and it was like a call to adventure, a call I considered refusing, but my mentor, that's you, told me if I want something bad enough, I have to fight for it! So I did, there were tests, allies, enemies. I approached a deep cave and went through a crazy ordeal, during which I totally seized the sword! Sadly I died, then I resurrected! Now I realize what I should've been fighting for all along, but before I do, I have to ask one final favor of you... could you put a robe on and hand me the phone?"''

** [[CrapsackWorld The Wasteland]], for a story in which the Hero must ''[[WorldHalfFull restore]]'' his world.

* '''The {{Herald}} brings a CallToAdventure.''' The Hero learns that s/he must leave the known world behind and travel into the land of adventure.

** JumpedAtTheCall, sometimes even in the face of AdventureRebuff: More common in modern stories. The modern subversion of this is when the hero is ResignedToTheCall. He accepts it, but only because he feels [[YouCantFightFate it would be pointless to resist]], and not because he's particularly happy about the thought of adventure. If the hero finds himself abducted by destiny [[TheCallHasBadReception before even knowing what the Call is]] [[IgnorantOfTheCall or even that he was addressed]], then he may be a CosmicPlaything. Resigning one's self to fate becomes easier in these situations. Just like its enthusiastic counterpart, this version of the narrative is more common in modern tales than classic ones.

* '''The [[CantRefuseTheCallAnymore Spiritual Death and Rebirth]]''' represents a symbolic death for the Hero: the Hero is defeated and killed, his flesh scattered, ready to be reborn and emerge as a new person. If you think the symbolic death ought to come later, don't worry: ''The Writer's Journey'' omits this step altogether in favor of a ''Resurrection'' step just before the end.

** [[HeelFaceRevolvingDoor The Shapeshifter]]: someone you don't trust but nonetheless need for his or her help/information

** ''Apotheosis:'' The Hero comes to view the world in a new and radically different way, either because of a critical breakthrough he's made or some crucial information he's uncovered. If it is something to do with himself then this is a good time for an IAmWho.
** ''The Hero confronts the BigBad'': Typically this plays out in a DavidVersusGoliath fashion. He is usually called upon to sacrifice himself or something/someone important to him. FriendOrIdolDecision is a common scenario. Note that ''asked'' is the key word here--it's usually [[SweetAndSourGrapes enough that the Hero be willing to sacrifice something without actually having to do it]]. Someone else will sacrifice himself in the Hero's stead, or [[TakeAThirdOption the Hero will prove to have outwitted the Big Bad somehow]] (so that the apparent sacrifice isn't really a sacrifice), or it was all a SecretTestOfCharacter, or...

** TheFinalTemptation is often involved in one or more of these three events: A hero [[NotInThisForYourRevolution originally motivated by a self-serving goal]] may receive their Ultimate Boon with the option to take it and run before saving the day. A hero on a [[TheHomewardJourney Homeward Journey]] may find a way home, but [[SendMeBack turn back]] after their Apotheosis makes them realize their work isn't done. Another may be offered the Ultimate Boon or a tempting substitute by the Big Bad...in exchange for stepping aside. Still another may find that the Ultimate Boon is exactly the sacrifice they are required to make to defeat the Big Bad.
* '''[[IChooseToStay Refusal of the Return]]''': At this point in the story, the Hero has mastered the strange world he was thrust into. He probably has earned a permanent place here, if he wants it. He may even ''want'' to stay, but usually there are forces at work that propel him home.
* '''The Return''': Also called the ''[[ShapeShifterShowdown Magic Flight]]''; the Hero now has the boon and high-tails it away, with the villain or his forces in hot pursuit; while they engage in a battle of wits and magic ([[ShapeShifterShowdown especially shapeshifting]]) during the chase. (See the Celtic story of Taliesin's escape from Cerridwen for a textbook example of this.) The Hero's escape may not require actual magic, but ''will'' [[FinalExamFinale require all of the new skills he's learned]] and new [[JustForFun/HowToGatherCharacters allies he's made.]] Or alternately he could realize the AwfulTruth that [[YouCantGoHomeAgain he can't return home]] because sometimes FailureIsTheOnlyOption...
* '''Crossing the Return Threshold'''. Sometimes a fight against the forces of the {{Muggle}} world, which the Hero wins thanks to help from his {{Muggle}} allies. This is where the PostClimaxConfrontation happens, as the remaining antagonistic forces have followed the Hero beyond the threshold and attacked him at a time when the plot should be wrapping up. In the absence of any action, it may be a BoringReturnJourney instead, a chance for the Hero to reflect on what he's gained and experienced through his journey.
* '''[[SoWhatDoWeDoNow Freedom to Live]]''': The Hero grants the boon to his people.

* '''The Return''': Also called the ''[[ShapeShifterShowdown Magic Flight]]''; the Hero now has the boon and high-tails it away, with the villain or his forces in hot pursuit; while they engage in a battle of wits and magic ([[ShapeShifterShowdown especially shapeshifting]]) during the chase. (See the Celtic story of Taliesin's escape from Cerridwen for a textbook example of this.) The Hero's escape may not require actual magic, but ''will'' [[FinalExamFinale require all of the new skills he's learned]] and new [[HowToGatherCharacters allies he's made.]] Or alternately he could realize the AwfulTruth that [[YouCantGoHomeAgain he can't return home]] because sometimes FailureIsTheOnlyOption...

This approach is not without critics, however. Some critics argue that Campbell's theory has become a [[StrictlyFormula formula]] on how to make hit stories and thus discourages originality. Others feel that the pattern is too [[PeopleSitOnChairs vague and general]] to be a notable pattern among both classical and modern stories. Still others feel that the approach focuses far too much on what good stories do when ''how'' they get there and the problems they must solve are more important.