Hero's Journey
Ever notice that every blockbuster movie has the same fundamental pieces? A hero, a journey, some conflicts to muck it all up, a reward, and the hero returning home and everybody applauding his or her swag? Yeah, scholar Joseph Campbell noticed first—in 1949. He wrote The Hero with a Thousand Faces , in which he outlined the 17 stages of a mythological hero's journey.
About half a century later, Christopher Vogler condensed those stages down to 12 in an attempt to show Hollywood how every story ever written should—and, uh, does —follow Campbell's pattern. We're working with those 12 stages, so take a look. (P.S. Want more? We have an entire Online Course devoted to the hero's journey.)
Ordinary World
Peter is a skinny, wimpy, thoroughly relatable high school senior. He gets picked on by his classmates, he has a BFF named Harry, and he's madly in love with his neighbor, Mary Jane. He lives with his Uncle Ben and Aunt May in Queens. They're kind of corny, but they're loving surrogate parents for Pete.
Call to Adventure
On a field trip to the Columbia University science department, Peter suffers a bite from a genetically engineered super spider.
Okay, "suffers" is probably too harsh a word here since that gnarly looking spider bite gives Peter a set of rad superpowers: enhanced strength and speed, the ability to crawl up walls, web shooters, and precognition. Peter is physically transformed into a buff dude capable of stopping the bullies that once picked on him. He's capable of stopping criminals, too.
Refusal of the Call
Peter refuses to use his enhanced abilities to stop a robber who holds up the wrestling tournament Peter just participated in. In this moment, he's called to use his superpowers for good; when he lets the robber go, he essentially says, "Thanks, but no thanks."
And his uncle winds up dead as a result. Whoops.
Meeting the Mentor
On graduation day, when Peter is missing Uncle Ben something fierce, Aunt May reminds Peter that Uncle Ben loved him and knew he was destined to do great things. In effect, she represents both herself and Ben now, mentoring Peter by proxy and reminding him of his values and what he's fighting for.
Crossing the Threshold
Peter gives Spider-Man's costume a much-needed upgrade, and Spider-Man hits the streets of New York, stopping criminals left and right. Gone is the bitter teen who refused to stop a thief.
Public opinion about Spidey and his crime-fighting motives are mixed, but he's officially made his presence known to the denizens of New York City…including a certain glider-riding supervillain.
Tests, Allies, Enemies
Peter's chief allies are his best friend, Harry, and his oldest friend, Mary Jane, with whom he's also secretly in love. The whole situation is complicated by the fact that once Peter and Harry become roommates after high school, Harry and Mary Jane start dating. Sorry, Pete.
Peter's #1 enemy, as Spider-Man, is the Green Goblin. Gobby firmly believes that people are terrible: they'll never appreciate the sacrifices you make; all they'll do is betray you. The Green Goblin proposes that he and Spidey team up and become allies, presumably in chaos and destruction, fueled by their bitterness over being taken for granted by the world.
Spider-Man also faces minor opposition from J. Jonah Jameson, the editor-in-chief of the Daily Bugle who insists that Spider-Man is a public menace, even while everybody's favorite wall-crawler is out there stopping burglaries and saving babies.
Throughout his journey, Spider-Man faces several tests. The first big one is stopping the Green Goblin when he crashes Oscorp's World Unity Festival. He's too late to stop Gobby from blowing up Oscorp's board, but he saves Mary Jane's life, as well as the lives of countless ordinary citizens.
Later, the Green Goblin shows up at the Daily Bugle and hits Spider-Man with knockout gas. He doesn't kill him; he takes him to a quiet, little out-of-the-way place and proposes that they team up. Next, the Green Goblin lures Spider-Man into a burning building. When Spider-Man formally declines his offer to be partners, he and the Green Goblin throw down again.
After a while, the Green Goblin starts to feel less like Spider-Man's nemesis and more like his stalker.
Approach to the Inmost Cave
This is where our hero prepares for his biggest challenge. In Spider-Man , it's also where our hero eats turkey. At Thanksgiving dinner, when Norman spots the cut on Peter's arm, he realizes his son's pal is his nemesis, Spider-Man.
The stakes have officially been raised. Now that Norman and the Green Goblin know Spidey's secret identity, they know how to focus their attack for maximum impact.
When Aunt May is attacked, Peter faces his greatest fear. With his identity exposed, his loved ones are no longer safe. At least the Green Goblin doesn't know that he loves Mary Jane. Yet.
Reward (Seizing the Sword)
Peter and M.J. have an intimate heart-to-heart in Aunt May's hospital room as Aunt May, Peter's only family, rests—and eavesdrops—peacefully. Peter tells M.J. what he told Spider-Man about her (i.e., that she's, like, the most awesome girl ever), and Mary Jane and Peter hold hands. Aww.
The Road Back
The Green Goblin kidnaps Mary Jane and holds her hostage on top of the Queensboro Bridge. See, Harry, not knowing what he was doing, told Norman that Peter is in love with M.J., which means the Green Goblin knows exactly how to get to Spider-Man. Whoops.
Spider-Man comes to M.J.'s aid and rescues her. He also saves a tramway car full of innocent kids in the process after Gobby tries to force Spider-Man to choose between the two. Spider-Man: all about that multitasking.
Resurrection
The resurrection is where the hero returns order to the world and ends the conflict. Here, it's when Spider-Man defeats the Green Goblin once and for all. Technically, we suppose the Green Goblin kind of defeats himself since he's impaled by his own glider after Spider-Man dodges it, but still.
With the Green Goblin gone, Spider-Man/Peter can breathe easier. We're sure that pesky little matter of Harry vowing to avenge his father's death will just resolve itself, right? Right?
Return with the Elixir
Peter returns to his ordinary world a changed man. When M.J. confesses her love for him (finally), he tells her he'll always be her friend. He tells the audience that he'll never forget Uncle Ben's words—"with great power comes great responsibility"—and that he's got a job to do because he's Spider-Man.
It's his gift because he can stop crime and save lives, and it's his curse because he can't live happily ever after with M.J., 2.5 spider-children, and a white picket fence.
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The Hero's Journey in Spider-man and The Matrix
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Myth and the Hero's Journey
Story and Symbol Therapy Courses Register Community Dates Contact
Seminar Dates and Formats Articles Joseph Campbell Site Map Search
Myth and the hero's journey: Big screen blockbusters
Star wars , spider-man - tell timeless tales, by chris bergeron.
After leaving his ruined home in a galaxy far, far away, Luke Skywalker began a journey taken by countless other heroes from Odysseus to Huckleberry Finn.
Along the way, the young adventurer encountered a wise knight, a charming princess and the husk of his father in a tale that began a long time ago but has come to seem as familiar as our own dreams.
Whether sending their creations across the wine dark seas or the deserts of Tatooine, storytellers from blind Homer to director George Lucas have used myths to reveal truths as old as time.
From every age and place, seekers like Odysseus and Huck Finn have set out as wanderers yet ended on profound quests to discover what it means to be human.
With the fifth installment of Lucas' intergalactic saga, Star Wars: Episode II - Attack of the Clones , primed for release on May 16, some are hailing it as the desperately needed, contemporary equivalent of the kind of myths that once inspired civilizations.
They point to Lucas' friendship with the late Joseph Campbell, the preeminent 20th-century expounder of mythology, as evidence his films were exploring far more than hyper-space.
Some, like television journalist Bill Moyers, believe Lucas has used his art to revitalize mankind's oldest story, the hero's journey, dressing it up in sci-fi duds to remind viewers if they forget it they'll be like Darth Vader - a hollow shell behind a mask.
And psychologist and author Jonathan Young describes Lucas' series as
He believes the Star Wars saga has propitiously arrived at a time when advanced technology has rendered old Gods obsolete in a secular age when individuals are estranged from nature, society and themselves.
Appearing at Harvard, Young described the film's episodes as wisdom tales that point the way to spiritual renewal and the path of right conduct in a trashy age.
He cited Lucas' treatment of the mysterious Force which Jedi knights regard as the unifying power of the universe and a potent power to be pursued and understood.
We have the Force within us just like theologians say we have the Holy Spirit , Young said. The Force is the most noble qualities a culture has to offer. It is whatever divine inspirations the religions pointed to .
He compared the experience of viewing a Lucas film in a darkened theater to the ritual very much like going to church on Sunday morning. It's kind of like religion of the psyche .
Young, who serves as Campbell's archivist, stated,
We are living in a time between the myths. The compelling narratives of times past are not holding our energies the way they once did. So, there is some hope a new mythic vision will emerge .
From the ashes
Does Lucas expect moviegoers to learn swordplay with light sabers or pilot the Millennium Falcon through asteroid belts?
Of course not. Like Campbell, he asks for something far simpler, yet infinitely more difficult.
They ask people to cultivate their own inner resources with discipline, restraint and faith, the lesson Skywalker learns from all his various mentors.
It is exciting what George Lucas is doing because he is such a serious student of myth and has taken the most compelling aspects of the patterns Campbell described and is presenting them back to us in the most marvelously dramatic fashion ,
Young said.
Asked whether it was possible Lucas was merely imitating or echoing Campbell's mythological theories without understanding them, Young said it was very unlikely. Young said:
From what I know of the 'Star Wars' scripts, Lucas had a very strong idea of what he wanted before bringing Campbell into it. So I do think there's a spontaneous, creative element to what Lucas has done .
Starting with his classic study, The Hero With 1,000 Faces , Campbell isolated certain mythic elements common to the legends, folklore and fairy tales of all cultures that constitute the hero's journey , a sort of psychic road trip through the major stages of life itself.
In that book, he described a Mono-myth common to all cultures in which the hero triumphs over a series of obstacles with the help of a mentor who bestows a boon , or gift, to assist him through his darkest moments.
Whether in Star Wars or The Wizard of Oz , Campbell felt the hero's adventures recapitulated the individual's progress from innocence, or psychic wholeness, to knowledge or sin - and, finally, back to a renewed wisdom.
For Young, the power of myth can also be found in comic books, like Spider-Man , which employ the standard theme of an awkward adolescent discovering he's blessed with extra-human powers.
'Spider-Man' is a classic in its own way. It's a compelling metaphor that indicates there's more to us than we might originally imagine , he said.
When comic character Peter Parker discovered his newfound talents, Young compared it to the common adolescent fantasy of wielding power. He said,
To a young person, the discovery of power is quite miraculous. But Spider-Man's message is to wisely use the powers he's been given. His new powers aren't for his own glorification or enrichment but to make some contribution to others
Tarnished heroes
To the owners of two local comic book stores, it's no surprise readers find instructive moral lessons in the adventures of Superman and Wonder Woman, Spider-Man and Captain Marvel.
Readers have always found comics to be morality plays , said Frank Urbano, owner of Paper Heroes in Holliston. I'd be lying if I said people don't want good to triumph over evil .
A former Boston housing police officer, Urbano pointed out comics are evolving in ways to match a changing world.
While DC Comics traditionally employed flawlessly good superheroes, rival Marvel relied on conflicted adolescent characters with ambiguous motives.
Decades later, new comics like Dark Horse and Image created characters, like Wolverine or the X-Men, often described as mutants who represented uneasy amalgams of good and evil.
The most extreme example of comics reflecting a malevolent world, Urbano said, might be Slave Labor Graphics which publishes Johnny the Homicidal Maniac .
Richard Roach, owner of Hudmar Paper in Marlborough, believes superhero tales appeal to the adolescent fantasy of power, which he attributed to escapism - but not mythology.
The first days
As a film scholar who founded Boston College's cinema studies department, Professor John Michalczyk believes many popular films fall short of real mythic status.
While a movie like The Scorpion King has mythic pretensions, it merely parades lifeless mythic cliches that lack the timeless gravity of moral tales.
He questioned whether Hollywood treatments of timeless mythic themes could compare in depth and universality to the original ancient models that inspired them.
The author of 10 books on film, Michalczyk dismissed wrestler-turned-actor, The Rock, as a plastic hero, a flash in the pan, that won't have the longevity of a mythic heroes like Skywalker or Huck Finn.
For him, the cinematic Spider-Man also represented a secondhand myth rather than the genuine article.
Michalczyk suggested many contemporary artists are too secularized and distracted by popular culture to make art or films with a genuine mythic resonance.
Myth is a sacred story. But these days I feel there's less of a touching of the human heart than imitating the outlines of myth itself .
As a writer and producer of contemporary comics, graduate student David Lewis, of Framingham, believes they can be appropriately sophisticated vehicles to explore complex subjects.
He characterized Spider-Man's alter ego Peter Parker as the typically conflicted hero who uses his newfound gifts to rise above his limitations to achieve self-knowledge, an echo of similar themes in Star Wars .
And while Lewis believes Spider-Man's story line fits Campbell's Mono-myth to a T , he pointed out the hero of an ongoing comic series can never come to the end of his travels, like Odysseus or Huck Finn, to share their wisdom without ending the comic line itself.
Earning a master's degree in literature at Georgetown University, Lewis speculated that comics' fixation on mutant characters reflected global nuclear fears at the height of very real Superpowers conflicts between the U.S. and the then-Soviet Union.
Following the Sept. 11 terrorist attacks that killed thousands, he believes story lines are again reflecting a national hunger for squeaky clean heroes like Superman of what fans call the golden age of comics.
Since the attacks, he pointed out the comic industry re-booted dormant heroes like GI Joe and Captain America as exemplars of national virtue. Lewis said:
We're seeing a return to the spirit of heroism. We need heroes again. We want to believe in heroes. We'll see a return to the spirit of heroism but not the actual military expression of it. Right now, we see enough of that in the news .
Published: Sunday, May 5, 2002 Daily News, Framingham, MA (Suburb of Boston). Section: Arts & Culture
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The Hero’s Journey: Analyzing Spider-Man
How it works
The story of Spider-Man, from his debut in 1962’s comic books to all the movies, isn’t just about a teen with superpowers. It’s a deep tale with timeless themes, complex characters, and moral dilemmas that hit home for many. This essay looks at the 2002 movie “Spider-Man,” directed by Sam Raimi, to dig into its layers of meaning, character growth, and visual storytelling.
- 1 The Making of a Hero
- 2 The Two Sides of Identity
- 3 Visual and Symbolic Storytelling
- 4 Wrapping It Up
The Making of a Hero
“Spider-Man” follows a classic hero’s journey, a story pattern that’s been around for ages.
Peter Parker, just an average high school kid, gets amazing powers from a genetically altered spider bite. This change isn’t just about his physical abilities; it symbolizes taking on new responsibilities and the struggles of growing up. Raimi’s direction nails Peter’s transformation, showing his inner struggles and the challenges he faces after getting his powers.
At first, Peter uses his powers for selfish reasons, which brings up a key theme: using power responsibly. He joins a wrestling match for money and fails to stop a thief, leading to his Uncle Ben’s death. This moment, summed up in “With great power comes great responsibility,” pushes Peter to become Spider-Man. It’s a reminder that heroism isn’t natural; it’s built through experiences and choices.
The Two Sides of Identity
One of the coolest parts of Spider-Man’s story is Peter Parker’s double life. Raimi’s film captures this well, showing the constant push and pull between Peter’s personal life and his duties as Spider-Man. This isn’t just a plot trick; it reflects the universal struggle of balancing different parts of one’s identity. Peter’s relationships with Mary Jane, Aunt May, and his best friend Harry Osborn are always under strain because of his secret. These relationships add depth to his character, making his superhuman adventures feel grounded in real human emotions.
The villain, Norman Osborn (the Green Goblin), contrasts sharply with Peter. Both go through transformations, but while Peter’s journey is about self-discovery and moral strength, Norman’s is about falling into madness and evil. This shows that power is neutral; it’s how you use it that matters. Norman’s interactions with Peter, especially as Harry’s dad, add complexity to their clash, making it not just a fight of strength but also of beliefs and ethics.
Visual and Symbolic Storytelling
Raimi’s “Spider-Man” is great at visual storytelling. He uses a unique visual style to boost the story’s themes. The use of color, for example, stands out. The bright reds and blues of Spider-Man’s suit represent hope and heroism, contrasting with the dark, muted colors of the Green Goblin’s outfit. This visual difference highlights the moral conflict between the hero and the villain.
The action scenes aren’t just for show; they carry narrative weight. The final battle between Spider-Man and the Green Goblin, set against a crumbling building, symbolizes the chaos caused by unchecked ambition and power. The physical injuries Peter suffers reflect the personal sacrifices heroes must make. Raimi’s use of close-ups and dynamic camera angles during these scenes pulls the audience into Peter’s experience, making his struggles feel real and his victories exciting.
The film also uses recurring symbols to add deeper meaning. The spider, often linked with creation and destruction, mirrors Peter’s dual role as a protector and a force for change. The web, seen throughout the movie, symbolizes interconnectedness and the delicate balance of Peter’s dual identities. These visual elements, combined with a strong narrative, lift “Spider-Man” from a simple superhero movie to a deep exploration of power, responsibility, and identity.
Wrapping It Up
All in all, Sam Raimi’s “Spider-Man” is a rich mix of story and visuals that come together to create a thoughtful and gripping film. Through the hero’s journey, the struggle of dual identity, and symbolic storytelling, the film goes beyond its genre to tell a universal story of growth, responsibility, and the human condition. Peter Parker’s journey to becoming Spider-Man isn’t just about getting powers but about using them with integrity. That’s why “Spider-Man” remains a timeless movie that continues to connect with audiences of all ages.
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Spider-Man comes to M.J.'s aid and rescues her. He also saves a tramway car full of innocent kids in the process after Gobby tries to force Spider-Man to choose between the two. Spider-Man: all about that multitasking. Resurrection. The resurrection is where the hero returns order to the world and ends the conflict. Here, it's when Spider-Man ...
The Hero's Journey: Spiderman. Peter first faces the emotional test of his best friend and life long crush now dating. Mary Jane is shown as the trickster for toying with his feelings making his change and feel betrayed, and Harry as the shape shifter for being his best friend at times, and showing off he got the girl at others.
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The Hero's Journey is a great structure used to follow the main character's journey. Although it does hit some plot beats, it focuses more on the main character's change throughout their journey through the script. Below, I have broken down Spider-Man: Into the Spider-Verse through Mile Morales's hero's journey. Ordinary World
Mythology at its core is about change; much like the stories change with the times, the heroes also evolve to fit within the current world they inhabit. This...
The nine steps of the hero's journey are shown through clips from the Spiderman movie
Spider-man Homecoming: Hero's journey Presented by PERSON for COMPANY Stage 1 Departure Peter's first adventure starts with Iron-man needing his help to fight Captain America in Berlin. The Call to Adventure Peter suits up with his new suit that tony gave to him to keep and goes.
Learn how Spider-man Homecoming follows the hero's journey model with this interactive infographic. Explore the stages, characters and themes of the story with Infogram.
Both "Spider-Man" and "The Matrix" offer compelling modern renditions of the Hero's Journey, illustrating the timeless appeal of this narrative structure. Peter Parker and Neo undergo profound transformations, navigating challenges and embracing their destinies to become heroes.
Here's how Miles' story falls into the hero's journey: The Ordinary World: The movie opens with Peter Parker's greatest hits, setting the expectations for what Spider-Man should be. Then we go to Miles and see how he's irresponsible and carefree in his life (not packing for school, putting stickers on signs, fails his test on purpose, sneaks ...
Follow Peter Parker's transformation into Spider-Man after being bitten by a special spider, his battle against the Green Goblin, and his decision to protect...
The author of 10 books on film, Michalczyk dismissed wrestler-turned-actor, The Rock, as a plastic hero, a flash in the pan, that won't have the longevity of a mythic heroes like Skywalker or Huck Finn. For him, the cinematic Spider-Man also represented a secondhand myth rather than the genuine article.
The Ordinary World Refusal of the call At a young age, Peter Parker's parents leave him with his Aunt May and Uncle Ben and then they die in a crash. In high school Peter is bullied by Flash Thompson. Peter meets a girl at school named Gwen Stacey. Peter is also a photographer
The Hero's Journey: Analyzing Spider-Man. The story of Spider-Man, from his debut in 1962's comic books to all the movies, isn't just about a teen with superpowers. It's a deep tale with timeless themes, complex characters, and moral dilemmas that hit home for many. This essay looks at the 2002 movie "Spider-Man," directed by Sam ...
Spiderman A Hero's Journey. samantha baker. Embed this Flow. Large Medium Small Copy Flow URL: Spiderman. A Hero's Journey. By: Sami Baker. Downloading Image / Downloading Image / Downloading Image / Downloading Image / Downloading Image / Downloading Image / Downloading Image / ...
The Hero's Journey: Spider-Verse The Hero's Journey: Spider-Verse Stage 4: Meeting the Mentor Peter Parker would be Miles Mentor. Although Peter Parker was reluctant in teaching him, he teaches anyways, on how to use his powers. The Hero's Journey: Spider-Verse Stage 5: Crossing
Spider-Man 2: The Hero's Journey. Nuclear explosion fails and kills Doctor Octavious's wife. He is then transformed into Doc Ock. He blames Spider-Man and seeks revenge. Peter faces self doubt. Doc Ock creates another fusion reactor and it destroying New York. Summary.
here. Fadi Hamad March 6 th , 2023 "Spider-Man: Into the Spider-Verse" Hero's Journey Call to Adventure: A radioactive spider had a mission to bite miles. The spider camouflaged with everything and stayed hidden until miles and his uncle were leaving the abandoned subway tunnel. The spider decided it was time to bite him and bit Miles.
The Hero's Journey: Spider-Man: Homecoming Thank You! The Unusual Birth/Childhood The Journey Begins Peter was born in Queens, NY into the May family, to parents Richard and Mary Parker. They were CIA agents, and worked for Marvel's superhero S.H.E.I.L.D. agency. After he was Call
The hero's Journey is important because it is found in almost any fiction story and/or myth. The hero begins in the ordinary world, and receives a call to enter an unknown world of strange powers and events. The hero must survive a severe challenge. By defeating the Goblin, Spider man successfully saves both Mary Jane and the children.
Spider man Far From Home Hero's Journey Map Key Dark blue circle = Picture Light blue circle = text read counterclockwise starting from Ordinary world Call to adventure The class is in Venice and Peter is planning to ask MJ out that day, so he buys her a necklace. But before he.