188 Stage Hero's Journey - Monomyth - Dissolution of the Self - Innate Capabilities

In the second Trial and Transformation, the Hero proves he is worthy for the New World and the New Self. The Hero is not like other men and this demonstrates it.

188 Stage Hero's Journey - Monomyth - The Purpose Of Allies

Allies exist, not because the Hero needs friends, but to serve particular story functions, the most important of which is to help develop the Hero and help him (or her) through the Transformation.

188 Stage Hero's Journey - Monomyth - Aspects of the Ordinary Self

Loyalty. It is not unusual to find that the Hero is the sort of person that inspires loyalty or not (antihero). This explains why others may or may not gravitate around him (or her). In Gladiator (2000)-

188 Stage Hero's Journey - Monomyth - Committment And Lack Of

Post the Physical Separation and before the Trials, a stage of Lack of Commitment is not unusual. In Bonnie and Clyde (1967), in the bedroom: Clyde gives Bonnie the option of getting out now. In Thelma and Louise (1991), both heroines sit it out in a hotel while they wait for Thelma to make a decision.

188 Stage Hero's Journey (Monomyth) - True Nature

The first Near Death Experience (previous to meeting the Supernatural Aid) draws out the Hero's True Nature and this will often show itself as a new behaviour.

188 Stage Hero's Journey (Monomyth)- Hero's Journey- Various Suspects

Explicit scenes further establish potential suspects. The link between the detective hero and the deceased is developed, thus further establishing that the hero could have been the murderer. [If the hero was sexually linked to the deceased's wife, this is developed. She suspects him; her actions enhance his cynicism about her and women in general]. In The Maltese Falcon (1939), Miles’ wife visits.

188 Stage Hero's Journey (Monomyth)- Hero's Journey- Good Cop Bad Cop

Two types of detectives exist in the detective hero's word: those who like and assist the hero and others who despise him and are waiting for a chance to take his license away or imprison him. In The Maltese Falcon (1939), the lieutenant wants to put Sam away.

188 Stage Hero's Journey (Monomyth): Boon

The ultimate boon is simply the prize that comes with the conquest of the inner challenge. It is the tangible symbol of the conquest of the inner challenge.

188 Stage Hero's Journey (Monomyth): Significance of the Sword

Once attained, the hero experiences a number of things. First, the Joy of Infancy Regained. Second, an enlightenment (expansion of consciousness) often demonstrated by new knowledge etc. Third the bride (conquest of the romantic challenge). Fourth, a new capability (demonstrating the New Self).

188 Stage Hero's Journey (Monomyth): Road of Trials 1

The first part of the Road of Trials is a pulling away from his Old Self. This takes various forms depending on whether the hero is willing or unwilling. For example, in The Godfather (1972), Michael visits and learns of his old town, Corleone. He grows closer to it - this is a pulling away from his old self, which would have had nothing to do with it.

188 Stage Hero's Journey (Monomyth): Backstory

A preliminary aspect of the road of trials is backstory. This is illustrated in a number of ways. In The Godfather (1972), Michael visists Corleone. In Romancing the Stone (1983), Jack tells Joan about his past and reasons for being in Colombia.

188 Stage Hero's Journey (Monomyth): Every Hero Passes Through Unbearbale Antagonism

Every hero undergoes an unbearable antagonism. This is a force that pushes the hero to draw out inner strength and persuades the hero to finally vanquish the antagonism. Even antiheroes experience this. In Scarface (1983), Tony refuses to kill children.

188 Stage Hero's Journey (Monomyth): Cast Out

The antihero's fate is to be cast out of the world he has fought so hard to be a part of. One reason is that even the dark world has rules and the antihero, being an antihero, is destined to break them. In Scarface (1983), the restaurant throws him out because he doesn't behave himself. In Goodfellas (1990), Henry is cast out by Frank because he deals in drugs.

188 Stage Hero's Journey (Monomyth): Shape Shifter And Post Mastery For The Two Worlds

Post the Crossing of the Return Threshold and before the Master of Two Worlds and Selves, a hell of a lot happens that is rarely given mention. The Final Conflict (a metaphor for this stage) follows a distinct process. It is post the mastery of the two worlds and two selves that the shape shifter (especially one who has been engaged in the Period of Dissonance for an inordinately long time) often demonstrates allegiance. In Straw Dogs (1971), Amy is slow to get the gun, but she does get it.

188 Stage Hero's Journey (Monomyth): Final Conflict: Developing The Antagonism

Post the Crossing of the Return Threshold and before the Master of Two Worlds and Selves, a hell of a lot happens that is rarely given mention. The Final Conflict (a metaphor for this stage) follows a distinct process. One aspect of this process is the buildup of the antagonism's threat. In Straw Dogs (1971), the Major arrives (a mentor and supernatural aid) and is quickly defeated by the Demon King (Tom) [the Major confronts Tom; Tom shoots the Major].