Monomyth structure in MLP The Movie

Ever since MLP The Movie premiered last Autumn, I wanted to compare its  structure to that of a “monomyth”— a myth–based template often applied to modern storytelling.

 Before we dig in, there are a few things to clarify:

1/ Scholarly work on the monomyth is filled with Jungian and Freudian psychoanalysis of mythology as reflection of deeper human desires. While the conclusion that Tempest role is to shatter  Twilight’s “superego” and make her aware of the workings of the universe is an otherwise interesting avenue to pursue, we will skip this sort of deep analysis here.

2/ This editorial focuses on Twilight as she fulfills the Hero’s Journey as Movie’s protagonist — although at times some steps are  “outsourced” to Mane5 & Spike or even Tempest.

3/ Finally, a story doesn't have to follow all the steps and/or in the same order; some might be inverted or exercised by supporting characters, as mentioned above. Frodo Baggins is a good example of how stories can differ: he seeks to destroy the artifact not obtain it and fails to regain the wisdom at the end. Yet, despite those differences, in each of those stories, we can map a coherent, recognizable structure.

Departure

The Ordinary World

Just like with the peaceful Shire or boring Tatooine, the story find our heroines in what we know to be a normal life in Equestria. More precisely — Canterlot, Equestria’s capital city (and symbolically, Twilight’s town of birth).

“A magic day in perfect harmony”

The Call to Adventure

This normal life is interrupted...

“Here's the deal, ladies. I need your magic.”

...and Twilight receives The Call of Adventure.

“Seek help from the Queen of the Hippo—”

“Luna can't, so I have to”.

Paraphrasing Campbell, the call of adventure  is to “a forest, a kingdom underground, beneath the waves, or above the sky, a secret island, lofty mountain top” — places filled with odd creatures, intense dangers and amazement.

And voilà! Here we have the destinations, straight from the Campbell’s list . Even if there wasn’t enough screen time to flesh them out, they are at least hinted:

 “A dangerous forest”  (one of the important locations in the first drafts):

 “Beneath the waves”:

 “A kingdom underground” is not exactly underground, but it is dark, menacing and dangerous:                                
 

 “A secret island”:

 “Above the sky”:

 “Lofty mountain top” :

Refusal of the Call

Sometimes the hero refuses the Call at first and doesn’t want to leave his or her home. In our case Twilight doesn’t refuse it; instead she assumes that her friends might:

“I understand you're scared, and nopony else has to go”.

Supernatural aid (or Meeting the Mentor)

Gandalf the Grey, Albus Dumbledore, Rafiki, Obi Wan–Kenobi and Princess Celestia are what Campbell calls a “supernatural mentor”, “the ageless guardians” or “a protective figure”.

They show up to aid the quest and sometimes provide the Hero with artifacts. Such person symbolises hope, promise, destiny, bigger powers at play — Princess Celestia is after all a thousand–years old Alicorn — that are “always and ever present within or just behind the unfamiliar features of the world”.   

Nonetheless, in the Movie the Princess still offers our heroine a bit of crucial advice for the future:  

“You are the Princess of Friendship. You already have all the magic you need”.

Crossing the First Threshold

The adventure finally starts. Ponies and Spike leave Equestria — a place they know and understand — and venture into a dangerous, aliien Klugetown.

                        

Campbell: “The adventure is always and everywhere a passage beyond the veil of the known into the unknown; the powers that watch at the boundary are dangerous; to deal with them is risky”.

                       

Campbell then writes: “the hero goes forward in his adventure until he comes to the 'threshold guardian' at the entrance to the zone of magnified power.” At the very entrance ponies meet Capper:

     
“You could really use a friend out here…”

Belly of the Whale

The passing of “the magical threshold” is a moment when our heroes get completely separated from what they know, and leave the familiar Equestria behind.

–– and would appear to have died”.

(It’s one of those blink–and–you–miss–it moments, but for a second or two, Twilight loses her consciousness after running out of air).

Initiation

The Road of Trials

This step, also known as the Tests, Allies, Enemies is about a succession of trials. This is the beef of the story; this is when our heroes are tested and often fail. “Dragons have now to be slain and surprising barriers passed — again, again, and again.”

"Best... escape... plan... ever!”

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––unsustainable ecstasies––

––and momentary glimpses of the wonderful land."

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The Meeting with the Goddess

“In the tabernacle of the temple” ponies  meet the “goddess”  — in our case it’s a Hippogriff–turned–seapony Queen Novo. In this step our hero often gains an artifact (the Pearl) that should aid her plight. However...

“I'm the queen. I know everything”.

The Woman As a Temptress

...things go murky when a hero faces temptation and strays from her quest.

––“is all on me”.

Approach To The Inmost Cave

"Aww, the "Princess of Friendship". With no friends!"

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The Ordeal / Atonement with the Abyss

In this step, a hero confronts a being that holds an “incredible power” described as the power of life and death.

                   

This step is also meant to help a hero “open his soul” — or, in the Movie...  

“Open up your eyes”.

Apotheosis

At this moment a hero achieves a greater understanding — or, in Twilight’s case, reaffirms what she already knew and betrayed.

It is fulfilled when she rejects the chance to get the powerful Staff of Sacanas and saves Tempest, her enemy,  instead. In Equestria, the friendship — and its many aspects— is the most powerful magic after all.

“Because this is what friends do”.

The Ultimate Boon or Reward

“Now... we fix everything”.

Return

Refusal of the Return

Some heroes refuse to return to the ordinary world after saving it (see again Frodo Baggins). This step however doesn’t apply to Twilight or her friends — it is partly carried out by Tempest, who is unsure about her place in Equestria after she’s helped to save it.

“I hope you'll stay”.

Rescue from Without

In this step “powerful guides and rescuers” lead a weakened hero back to the ordinary world. Captain Celaeno and her crew, Capper and Princess Skystar help the Mane 5 & Spike return to Equestria and aid Twilight.  “An apparent rescue is effected, and the adventurer returns."

“Y'all ready to do this thang?”

The Crossing of the Return Threshold

The hero must retain the wisdom upon her return to “the world of common” (her friends and Canterlot) and integrate what she has learned into everyone’s life. When Pinkie Pie says “You've got this, Twilight! ” for our enlinghed heroine it’s no longer “all on me” but:

“No. We've got this. Together”.

Master of Two Worlds

This is where the hero achieves “a balance between the material and spiritual” like a transcending god-like character. It’s beautifully symbolised by the serene scene of Twilight slowly emerging from the sky after her near–death
experience:

                  

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Freedom to Live

And so the hero, freed from “the fear of death” is given the the freedom to “live”. She can once again live in the moment, letting go of the past.

   

Thanks for reading!  If you would like to dig further, take a look at “The Hero with a Thousand Faces” by Joseph Campbell (that hugely inspired George Lucas) or a more modern book  “The Writer's Journey: Mythic Structure For Writers” by Christopher Vogler (who worked on The Lion King).

dSana