Posts Tagged ‘Villain’

A Game for Tricksters and Shapeshifters

Monday, May 24th, 2010

We don’t often think of mythic archetypes as something we would apply to our daily lives.  And yet our own little personal mythologies can shape our social interactions.

I’ve been thinking about this lately, while wathcing Season 20 of Survivor.  Twice a year, this show sends a bunch of people off to some remote location, puts them through a variety of contests and then makes them vote each other out of the game.  Because the players are all living together in rough camps, the nature and quality of their social behavior can have a big effect on how far an individual may last in the game.  And the game is designed in such a way that merely getting to the Final Two or Three is not necessarily an indication of good gameplay on your part: it could be because other players know you are so disliked that if given a choice between you and themselves, the jury (players previously voted out) will not give you the big prize.

Over the years, there have been those who believed that winning at challenges is the key to winning the whole.  Or making big plays to dump athletes or very social players.  Some have believed that controlling all actions of their alliances is the winning way.  Others choose to stay under the radar, not being too outstanding, or too obnoxious, or too visible in any fashion.

But all of these approaches are affected by the presentation each player makes of his or her self.  This seemed particularly evident in Survivor’s Season 20, which was labeled up-front “Heroes Versus Villains.”  In this case, the players did not really self-select these designations.  And yet, some embraced the labels, some rejected them, and some didn’t care.  On an obvious level, Rupert deeply embraced the designantion of “hero,” to the degree that he was very reluctant to ally with a so-called “villain.”  Colby as well clung to his perception of “playing with honor.”  Russell gleefully plowed through players as chief villain (calling himself “king” several times).  Coach, who seemed disconcerted to be classed as a villain, set out to play with what he perceived as honor and warrior ethics.

The problem with all this is that the game of Survivor is not designed to accommodate such self-perceptions.  The social aspect of the game ends up ruling the final decisions of the jury, the people who will choose the million dollar winner.  Thus, insisting that just being “athletic and winning challenges” won’t help someone who doesn’t get along with his or her tribe-mates.  For those who believe they can “play with honor,” the reality is that they will have to breakk a promise at some point if they want to stay in the game.

The game of Survivor favors those who can operate in the modes of the mythic figures of Tricksters and Shapeshifters.

The Trickster, let us remember, is one who punctures illusions, works from the position of being an underdog, and who keeps the sense of humor at hand.  Not that the ojbect is to be the “class clown,” but rather to keep the sense of balance in the face of incongruity.  Tricksters keep an eye toward the best opportunities for bringing down “the big guys.”  A Trickster knows vividly he or she is at a disadvantage at all times, and so never lets down the guard.  If switiching alliances or just one vote serves the Trickster, that person will do it.  And all the while, the Trickster will work at maintaining public humor, in order to keep the social situation from turning against him.

The Shapeshifter, by contrast, is the one who keeps secret some key piece of information.  In Survivor, that could be a hidden alliance or possession of a hidden Immunity Idol.  A Shapeshifter will change voting targets as the game changes.  A Shapeshifter will change social activity as circumstances change: such as letting someone else “provide food” for a long time, until that person is no longer needed for strategic purposes; as soon as it is an advantage, the Shapeshifter will become a “provider” (assuming possession of that skill).  Another Shapeshifter might hold off in physical challenges until late in the game, when individual immunity is most important.

The way to deal with a Shapeshifter is either change shapes with that person or to hold onto them until they reveal their “hidden truth.”  When applied to Survivor, I suppose that means “be in an alliance with them.”

But note, of all the mythical archetypes, these two are best adapted to changing circumstances.  They are not the ones who come into the game and stick to a rigid personal mythology.  “Heroes,” “villains,” “warriors,” “honorable player,” “pure athlete,” all those personal labels end up tripping the players who cling to them.

As I said, applying mythic motifs to our “real world” lives takes some careful consideration.  Real lives tend to be more complicated than “story lives.”  And yet, because myth is about meaning, we do, in the end, tend toward the mythic shapes that best convey our “personal meaning.”  It’s an interesting prospect to consider.  What mythic forms are most important in your life?  And how do they become manifested in your lifte?

I’m going to have to go think about this some more.  I’ll be interested in anyone’s thoughts about it.

As always, feel free to comment here on the blog, or visit my MESSAGE BOARD for more free-form discussion if you want.

Everyone is on a Journey

Monday, September 28th, 2009

A lot has been written about the Hero’s Journey.  Even I have tossed in my two cents worth on the matter.  It can be very, very hand for any writer to know the shape of the Hero’s Journey.  But many writers have gotten stuck on a single model, Chris Vogler’s redaction of Joseph Campbell’s outline.   I’m not saying that it is a bad model, for it isn’t.  But the problem of being stuck on it is that the Vogler/Campbell outline is not the only one available.

It is entirely possible for a writer to be on fire for his story, and struggling to get his plot to “fit” the Hero’s Journey outline that he knows — only to dispair because his story doesn’t want to go that way.  It’s possible for that frustratd writer to think that he is wrong about his story (even though he is still jazzed by it, in the back of his head).  So he stops.

Now, it’s my feeling that no writer should give up on a story that excites him.  It may be a mess, plot-wise, and need work.  But no writer should feel she has to give up on something just because it doesn’t fit one outline.  So, that’s why I felt it important in The Scribbler’s Guide to the Land of Myth to mention some of the principal variations of the Hero’s Journey that I have encountered over the years.  The different outlines often have elements not included in the Vogler/Campbell model.  But every writer should also remember that these things are not cut in stone: they are very flexible, and you can move things around a bit, to suit your own story.  After all, you are the storyteller.

Getting comfortable with the Journey your Hero is on is only the first step, however.  If you want to add depth to your story, and to help the other characters take on substance, you need to remember that the Hero is not the only character actually going on a “journey” in your story.  The villain is pretty sure he’s the Hero of his own life.  And your love interest or B Story sidekick is also making a journey.  Do you know the shapes of their Journeys?

This brings us to another reason why there is an advantage in knowing multiple versions of the Hero’s Journey.  Your three principal characters do not have to be traveling according to the same pattern.  In fact, it can be very interesting if they are not.  Nor does everyone’s Journey have to start at the same point.  For instance, your villain’s journey may begin well before the point where you want to start the story.  This could turn into what Blake Snyder called Act Zero material.  The Journey for your B Story character may not be so complicated.

The mechanics of coordinating the different Journeys will reveal how well you understand your plot.  A villain’s high point may be your Hero’s darkest moment, or it may just be one of the trials and tests the Hero meets.  It’s your story.  You decide.  But at this point, index cards or a computer program that has a similar function, where you can shuffle and mix individual story beats can be a big help.

And there can be great satisfaction in looking at the meshed outline, mere you can clearly see where each charcter is on his or her particular Journey.  When you realize you know exactly what the villain wanted as his victory and what is a set-back for him; when you know just what the B Story character’s Journey is, at that point your story become more solid and deeper.

Everyone is on a Journey.  Everyone has a goal.  They may not all be met by the events in your story.  But when you start constructing things this way, you will discover that it is very useful.

As always, if you are interested in talking more about this matter than blog comments allow, visit my MESSAGE BOARD.