Vogler Response

Vogler uses the next two chapters to identify the "approach to the Inmost Cave" and "the ordeal". Its described as a mysterious zone that is inhabited by threshold guardians that will be testing the hero. It is fair to say that a great deal of the story's excitement will center around the approach to the inmost cave based on the level f excitement. Vogler makes a very nice metaphor comparinf this approach to a mountaineer who is about to make his final approach on the hardest part of the mountain. Basically if the hero has been training or learning anything, this is their opportunity to put it to the test. The next chapter is just as important and linked with the prior one because this chapter deals solely with the ordeal. The ordeal is what is going on inside that inmost cave. Vogler describes the ordeal as a dramtic movement, where in many cases the hero must die, and will be magically reborn, i like the example of ET for this one. Vogler talks also about the placement of the ordeal, and stipulates that it is closer to the middle of the story, like the crisis instead of the climax. It is unfair to say however that the hero must die in this instances, because they can also just as easily bear witness to death to have the same ramifications.
I like what Vogler does in this book by illustrating everything out point for point. I find it so much easier to read when he illuminates everything in a sequential order making it easier for me to put it together in my head, mixed with the fact that he primarily uses examples from movies that i grew up on. In the chapter approach to the inmost cave, Vogler makes a lengthy comparison to the Wizard of Oz, perfectly matching it to the structure he had formulated. And in the ordeal vogler references several star wars scense to illuminate other points he had to make.
I think this book is good because it helps us explore the layout of a story, specifically following the archetypes of the hero's journey. The approach to the inmost cave and the ordeal are important facets to the hero's jounrey, it is in these instances that excite both terror and excitement. Vogler illuminates that this is where the hero must prove something, or where the story is about to get juicy.

Vogler Response # 6

In these brief chapters, Vogler discusses two important facets to the hero's journey; crossing the first threshold and tests,allies and enemies. Through his writing he contends that these are integral parts for the story, and can be found in all of the classics and current movies. Crossing the first threshold is where the hero becomes fully committed to the journey. It has to be triggered by some event that is important enough to launch the hero into action. Vogler say's that the hero needs a special kind of courage, requiring them to take a "leap of faith". He uses the example of jumping out of an airplane just to illustrate the point that once you do it there is no going back. Vogler also kinds allies and enemies useful in a story, because they are interesting people that the protagonist will meet making the story richer.
I find it kind of interesting that the hero's journey would not be a journey without the crossing of the first threshold, because if our hero never does that, then there is no story. We put so much faith into the fact that the hero will actually set the story in motion, and i think this is what distinguishes him as a hero, because he crosses this rarely crossed threshold. Just like in life allies have the potential to become enemies and vice-versas and these are all different types of tests that we encounter along the way. Voglers writing has taught us to accept these classic archetypes in the story, and the way he writes almost reiterates every point he has made up to this point.
I think i am finally coming to realize which movies Vogler has worked for over the years, only based on the assumption its the movies he is constantly referring to with the exception of the wizard of oz and star wars. (beverily hills cop for example). Voglers writing makes it very easy to understand these concepts. By going through each integral piece step by step with the reader, it is clear that there is a formal structure to hero writing.

how does one change from allies to enemies?
what is voglers connection to moives today?
is crossing the first threshold the call to action /. which comes first

Vogler response #5

In this section Vogler talks about two important elements to the Hero's journey, The refusal of the call to adventure and meeting with the mentor. The refusal to the call is the usually the first initial response, and they some how overcome it. Its the questioning of whether i really need to do this, and Vogler states that all heroes, classic and new will at one time or another refuse the call, i was even a little surprised at his Jesus reference. Vogler says the ways in overcoming this fear is the stakes have to anted up for who ever is in question, and only after that will there be some connection to help. Meeting with the mentor is another necessary stage in the process of the journey, serving as a source of wisdom. Vogler states at other times though the mentor can prevent problems for the hero, and that the mentor no longer fits the stereotype of an old wise man, but can appear in all types of shapes.
Vogler makes the point that refusing the call to adventure is usually viewed in a negative perspective, but there are times where there is a positive refusal, and i have some trouble grasping that idea. I liked the short passage about the secret door, because it is just a temptation that all the heroes experience, and they usually end up opening the door. Any time u see a button that says do not press or a door that says stay out, it is our intrinsic curiousity that prevails and forces us to turn that door handle, into an abyss we know not of. It was interesting to read about some of the different hero-mentor relationships, especially in the cases where the mentor turns out to be bad, and doublecrosses our hero.
With future writings, i would like to steer clear of the conventional stereotypes that usually accompany archetypes. If i could go back to writing piece, i would turn everything upside down on its head. Vogler makes a strong argument throughout these two short chapters, and he clearly illustrates why he thinks these are so important steps to the hero's journey. I had alittle trouble following the wizard of oz references just because i cant remember who professor marvel is for the life of me.

does the mentor being a villian appear more in movies or books?
is the hero still as much a hero if they refuse the call and are only motivted out of their own self-interests?
name one secret door from a current movie