Everything starts for the hero during Campbell’s first stage, The Departure. The first of The Departure’s five stages is The Call to Adventure. For Katniss, this is when Effie Trinket pulls Katniss’s sister’s name out of the reaping jar, causing Katniss to volunteer and take her sister’s place in the Hunger Games. This Call to Adventure is the hero’s notice that their adventure is to begin, and Katniss listens to the call and takes it. She does have some reservations, however. Katniss’s next step in The Hero’s Journey is The Refusal of the Call. Considering that Katniss can not actually refuse to go, Katniss’s form of refusal is her doubting herself. She doesn’t believe that she will be able to kill the other 23 tributes in the games. What she doesn’t realize is that the next part of Campbell’s monomyth is on the way. This comes as Haymitch, Katniss’s Supernatural Aid. Haymitch is Katniss’s mentor and he helps her along her way, including by sending her sponsored gifts while she is in the games. Haymitch helps Katniss survive during her journey, starting at the beginning and through to the end.
Survival becomes Katniss main drive once she moves into the next subcategory. This is The Crossing of the First Threshold. Katn...
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...ve to go into the Hunger Games again, and is free to live her life no longer fearing her name appearing in the reaping of tributes.
Hunger Games is an excellent example of a movie following Joseph Campbell’s monomyth that he outlines in “The Hero’s Journey.” Through the three stages and 19 total subsections between those stages, Katniss Everdeen is able to go on an adventure and become a true hero. She initially fears her adventure, but eventually crosses over and starts her adventure. She survives to receive The Ultimate Boon, and returns home to live freely. Katniss’s heroic journey transforms her from a meek girl, only trying to protect her sister, into a full fledged hero, saving not only her sister’s life, but Peeta’s and her own. She fits the outline of a hero nearly perfectly, and more than proves that Campbell’s structure can be applied to a modern movie hero.
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