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** A more contemporary interpretation of this step is that the hero is taken down & demoralized by the BigBad and hits [[DarkestHour rock bottom]], without actually dying (though this can be caused by someone close to them dying). Afterwards, they have an important revelation, giving them a final bit of CharacterDevelopment, and restoring their resolve.


* '''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.

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

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* '''The {{Herald}} brings a CallToAdventure.''' 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'''

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

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* '''The Land of Adventure:''' 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…

to:

* '''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.]] 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]]

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[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/heros_journey4_8462.org/pmwiki/pub/images/heros_journey4_8462_2.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.

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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.


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

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-->-- '''Scott Pilgrim''', ''Film/ScottPilgrimVsTheWorld Scott Pilgrim'' ''Film/ScottPilgrimVsTheWorld'' ([[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]]

to:

->''"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… you... could you put a robe on and hand me the phone?"''
-->-- '''[[Film/ScottPilgrimVsTheWorld '''Scott Pilgrim''', ''Film/ScottPilgrimVsTheWorld Scott Pilgrim]]''' [[note]]It's from a [[DummiedOut Pilgrim'' ([[DummiedOut deleted scene]], but it still fits.[[/note]]
scene]])


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''.

to:

The concept of the Hero's Journey was described by mythologist Joseph Campbell in [[https://dleell.com/ his book]] 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''.

to:

The concept of the Hero's Journey was described by mythologist Joseph Campbell in [[https://dleell.com/ his book 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

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** [[TheGoodKingdom Peaceful Kingdom]]; TheGoodKingdom, 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

to:

** [[TheKingdom [[TheGoodKingdom 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.

to:

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.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.


* '''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…

to:

* '''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 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…


->''"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?"''

to:

->''"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... 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.

to:

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

to:

* '''The {{Herald}} brings a CallToAdventure.''' The Hero learns that s/he they 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.

to:

** 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 They accept it, but only because he feels they feel [[YouCantFightFate it would be pointless to resist]], and not because he's they're particularly happy about the thought of adventure. If the hero finds himself themself abducted by destiny [[TheCallHasBadReception before even knowing what the Call is]] [[IgnorantOfTheCall or even that he was they were addressed]], then he they may be a CosmicPlaything. Resigning one's self oneself 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.

to:

* '''The [[CantRefuseTheCallAnymore Spiritual Death and Rebirth]]''' represents a symbolic death for the Hero: the Hero is defeated and killed, his 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.



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

to:

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



** ''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...

to:

** ''Apotheosis:'' The Hero comes to view the world in a new and radically different way, either because of a critical breakthrough he's they've made or some crucial information he's they've uncovered. If it is something to do with himself themself then this is a good time for an IAmWho.
** ''The Hero confronts the BigBad'': Typically this plays out in a DavidVersusGoliath fashion. He is They are usually called upon to sacrifice himself themself, or something/someone something or someone important to him. them. A 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 themself 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...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.

to:

** 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 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 they were thrust into. He They probably has have earned a permanent place here, if he wants they want it. He They may even ''want'' to stay, but usually there are forces at work that propel him them 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 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 he's they've learned]] and new [[JustForFun/HowToGatherCharacters allies he's they've made.]] Or alternately he they could realize the AwfulTruth that [[YouCantGoHomeAgain he they can't return home]] because sometimes FailureIsTheOnlyOption...
FailureIsTheOnlyOption…
* '''Crossing the Return Threshold'''. Sometimes a fight against the forces of the {{Muggle}} world, which the Hero wins thanks to help from his their {{Muggle}} allies. This is where the PostClimaxConfrontation happens, as the remaining antagonistic forces have followed the Hero beyond the threshold and attacked him them 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 they've gained and experienced through his throughout their journey.
* '''[[SoWhatDoWeDoNow Freedom to Live]]''': The Hero grants the boon to his their 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...

to:

* '''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 [[JustForFun/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.

to:

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 [[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.

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