Volger annotation IV

In this reading, Volger discusses the first two stages of the hero's journey. The first part of any narrative should begin with an introduction to the "ordinary world" in which the audience is introduced to the hero, as well as the nature of the story to come (comedic, dramatic, metaphor driven, etc.). He begins with a very rudimentary synopsis of the "ordinary world" function through an except of a story as told by cavemen, to illustrate the universality and timelessness of this story telling component. He goes on to break down the various elements which should be incorporated into the introduction, and gives examples of different strategies through which they can be achieved. In order to introduce the audience to the narrative writers may use a prologue to set the scene, and incorporate foreshadowing to give the audience a sense of what is to come. This also illustrates the protagonists current state--his ordinary world. According to Volger, the ordinary world is also a critical point at which the hero is introduced, and his entrance, especially his first action must be very deliberate from a writers standpoint. In this section of the narrative the audience must recognize inner and outer problems which the hero faces, his "lack" in life (either physical, emotional or symbolic), as well as any past "wounds" that haunt him. The objective is to lure the audience into identifying, or sympathizing with the hero; it is also crucial that they recognize what will be at stake for the hero in the imminent journey. 

In the second section Volger describes the ways in which the "call to adventure" can take place, which serves as a catalyst for the hero to leave his ordinary world. The call to adventure comes as a result of various factors. Volger lists them as synchronicity (a chain of events set in motion by simply being at the right or wrong place at the right or wrong time), disorientation and discomfort in the ordinary world, a lack or need to obtain something, or running out of other options. The call to adventure can appear in many forms, and is answered differently by the different sub-categories of heroes, which Vogler described in earlier readings. The call to adventure is also the point in the story when the Herald archetype makes his appearance.

I found Vogler's take on these two narrative components to be as always engaging, though some of the sections were repetitive, paraphrasing information from a previous paragraph, such as the three titled "Making an entrance", "Introducing the Hero to the Audience" and "Identification", which all made the point of making the audience relate to and identify a characteristic of his within their own ego.

 I do however, agree that empathy for the hero is important. Even my favorite, and overused example of "the protagonist who isn't a hero"--the main character in "There Will Be Blood"-- has many relatable qualities at the beginning of the film. The writers were obviously aware, that if they made him empathetic at the beginning, the impact of his revelation as a monster of a man, will be unexpected and shocking, making the film more powerful and profound. 

I also enjoyed the examples Vogler used in this section to illustrate various concepts and approaches. Tom Sawyer painting the fence, is indeed a brilliant introduction to who the hero is and what to expect from him. Clint Eastwood burying a body in his yard was a good example of ONE possible way of introducing a story, by jumping in immediately and then backtracking. And of course The Wizard of Oz, which he uses several times, is a classic example of "contrast" between the ordinary world and the new one in which the hero ends up.

However, I was confused by Vogler's mention of titles, slogans, cover art, etc in the ordinary world chapter, because these promotional tools sometimes reflect later portions of the hero's journey, not necessarily the introduction to the initial setting. 

Questions for Discussion:

Of those described by Vogler, what is the most important aspect of setting the scene in the ordinary world?

Are there, or can there be narratives which don't follow Voglers formula, but start in at the middle or end of the story, introducing the hero throughout the narrative? What is the benefit/effect of such unorthodox organization? 

Is reconnaissance really that common in narratives? Why was it worth mentioning?

Is "relateable" not a word?