For purposes of clarity, the heroes journey will be herein defined to exhibit the following 12 traits: 1)the heroes are introduced in the ordinary world, 2) they receive the call to action or adventure, 3) they are reluctant at first or refuse the call, 4) they are encouraged by a mentor, 5) they cross the threshold and enter the “special world”, 6) the encounter a series of tests, allies and enemies 7) they approach the in-most cave and cross a second threshold, 8) within this second cave they endure the ordeal, 9) they take possession of their reward, 10) they are pursued on the road back to the ordinary world, 11)they cross the third threshold and experience a resurrection/transformation, 12) they return with the elixir or treasure to benefit the ordinary world (Vogler 2). In this way, Volger sets out to express that the way in which a screenwriter interacts with his chosen topic, works to force it into a reality, and hones the acumen of its message follows precisely the same steps as that the heroes journey represents. What is particularly interesting about this “mythological” approach to any given subject matter is that it nearly perfectly applies to the way that almost every story can be told.
The author begins by recounting how the “ordinary world” presents the known reality and easy confines within which the actor(s) will develop. In this way, the hero is presented as an entity that is uncomfortable and/or unaware of the underlying tension and struggle that brews beneath the surface. This develops the actor into the secondary stage or “call to adventure”. This call to adventure is the impetus and or need that is exhibited by the deficiencies of the “ordinary world”. As a result of this imperfection this “call to adventure” exists as a means to answer this inequality.
An interesting component of this call to adventure/action is the fact that the protagonist/character/actor is oftentimes reticent to heed its direction. This