Digital essay (draft)

I'll send my final version via E-mail.



According to Vogler (1998; 1992), all filmic narratives share a similar deep structure. Additionally, he formulated the list of seven 'archetypes' supposedly fundamental to storytelling. This essay analyzes to what extent dose Herge's 'The adventure of TINTIN: The blue lotus' (2005,1935) replicate Vogler's (1998; 1992) plot points.

Vogler's (1998; 1992) timing the three-act structure is the following;

Herge's work seems to be divided into three parts. ActⅠis from the beginning to TINTIN's decision that he is going to 'Blue Lotus' (pp.1-19). Act Ⅲis from his decision that he goes back to Shanghai with Chang to the ending (pp.49-62), and Act Ⅱis the rest part. Then, the catalysis and the Fist Turning Point are TINTIN's arrival the house of Wang Chan-yee and the first meeting with him (pp.16-19). The Second Turning point is from TINTIN's decision that he is going to Hukow to his decision that he is going back to Shanghai with Chang (pp.41-49). The climax is the last confrontation with Mitsuhirato to solve the problem. The resolution is the last page of the story.

In Vogler's (1998; 1992) 'mythic structure', the dramatic function of ActⅠis 'set-up'. In this part, there is establishment of setting, characters and basic action of the story, and then, the rising of central question of the story. It also include in the introduction of Catalysis and the First Turning Point. The introduction of Catalysis means an event or action which precipitates the First Turning Point. The First Turning Point marks the transition between ActⅠand Ⅱand turns the action around in a new direction. According to Vogler (1998; 1992), ActⅠis usually unfolded the following five parts: Heroes are introduced in the ordinary world: They receive the call to adventure: They are reluctant at first or refuse the call, but: are encouraged by mentor to: cross the first threshold.

In ActⅠof Herge's work, first, TINTIN is introduced in the ordinary world. He is staying India with Snowy as guests of the Maharaja of Gaipama, and is enjoying a well-earned rest. Second, he receives the call to adventure from the stranger who says TINTIN is needed in Shanghai. TINTIN goes to Shanghai. The setting of Shanghai and other main characters are introduced after TINTIN's arrival at Shanghai. Although TINTIN is not reluctant the call, he is deceived by Mitsuhirato and decides to go back to India at once. However, TINTIN meets Wang Chen-yee as his mentor. Then, Wang Chen-yee explains the central question of the story, encourages TINTIN to help a secret society he belongs to, and then, TINTIN decides to go to 'Blue lotus' and crosses the first threshold. This part is approximately 30% of the entire action of Herge's work and is higher than Vogler's (1998; 1992) model. It seems that the main reason is that this story is series and Herge needs to show the relation to the previous episode.

In Vogler's (1998; 1992) 'mythic structure', the dramatic function of ActⅡis 'development'. In it, the main character encounters numerous obstacles while trying to achieve a goal. Then the Second Turning Point is presented that the action turns around again in a new direction. ActⅡis usually unfolded the following three parts: Heroes encounter tests, allies and endmies: They approach the innermost cave, crossing a second threshold: Where they endure the supreme ordeal.

In the ActⅡof Herge's work, there are two main events. TINTIN is caught by Mithuhirota, and is injected poison of madness. TINTIN is caught by Japanese Army and is condemned to death. However, Wang Chan-yee helps TINTIN. Then TINTIN decides that he is going to Hukow and the action turns around in a new direction, he arrives Hukow as the innermost cave. Although TINTIN also encounters tests after the two main events, the action speeds up and dose not take a long time for the solution. For example, in the Second Turning Point, the confrontation with a cameraman is only 1 page, although the first event takes about 9 pages and the second event takes 12 pages. This part is approximately 50% of the entire action of Herge's work, and is the same as Vogler's (1998; 1992) model. However, Herge uses higher percentage for the Second Turning Point for introducing Chang, Thomson and Thompson. Thomson and Thompson are familiar characters of this series and their introduction in this scene is Herge’s device for entering them.

In Vogler's 'mythic structure', the dramatic function of ActⅢ is 'denouement'. It includes in the climax and the resolution of the story. The climax means the big finish and the moments when the central question is answered. The resolution presents the order of world is restored. Then ActⅢ is usually unfolded the following four parts: Heroes take possession of their reward and: Are pursued on the road back to the ordinary world: They cross the third threshold, experience a resurrection, and are transformed by the experience: They return with the elixir to benefit the ordinary world.

In the ActⅢ of Herge's work, TINTIN cannot take possession of his reward (Professor Fang His-ying). However, he gains the friendship with Chang and Chang goes to Shanghai with TINTIN. It seems to compensate the reword. In the case of this story, the meaning of 'the road back to the ordinary world' is 'the solving the crime'. Then, in the climax, TINTIN and Chang confront Mithurirato and solve the problem. They cross the third threshold, experience the resurrection. However, in Herge's work, TINTIN is not transformed by the experience. Moreover, TINTIN returns without his elixir to benefit his Ordinary world, but the elixir gives to Chang in this story. This part is approximately 20% of the entire action of Herge's work, and is smaller than Vogler's theory. The reason seems that this story is series and it is important that he keeps TINTIN's unchangeable character. So, Herge does not need to show the transformation of TINTIN by the experience.

Next, The seven archetypes Vogler (1998; 1992) formulated are the hero, the mentor, the threshold, the herald, the shapeshifter, the shadow and the trickster. The followings are Vogler's (1998; 1992) suggestion of each character the hero that seems to apply to Herge's work and the replication of Herge's work.

Hero acts (i.e. do things) to a greater degree than other characters. Hero is willing to serve and sacrifice. Hero provokes audience sympathy/identification (Vogler 1998; 1992)). Undoubtedly, the hero in Herge's work is TINTIN. His act (i.e. do things) has a greater degree than other characters. The story is always unfolds based on his action. TINTIN is always willing to serve. For example, even when he gets a letter from Mithuritatoas a stranger at that time, he says 'he mustn't put himself out I will call upon myself.' Then TINTIN provokes audience sympathy/identification. For example, when Gibbons is punishing a rickshaw boy, he criticizes the behavior as 'brute!' and helps the boy.

The mentor motivates the hero and/or plants information in their way and represents the ('Higher') Self, conscience. The mentor has a positive figure who aids or train the hero, often giver of gifts or boons, and is psychologically related to the function of the parent (Vogler 1998; 1992). The mentor in Hege's work is Wang Chen-yee. Wang Chen-yee motivates TINTIN and plants information in his way. Wang Chen-yee explains how Mitsuhirato is an evil man at their first meeting. Wang Chen-yee also represents the higher self, conscience that is the complete opposite of Mithuhirato. Third, Wang Chen-yee has a positive figure. He and his friends promise that they will be of infinite help and fulfill it. When TINTIN is caught Mithuritato, one of his servant hides in the next room and helps TINTIN. When TINTIN is arrested and is sentenced to death, Wang Chen-yee and the secret society, which he belongs to, also help TINTIN from the prison. Moreover, he is a giver of gift in this story. He offers Chang their adopted child, although the gift is not given to TINTIN. Then, the offer also implies his psychologically relation with TINTIN and Chang as the function of the parent.

The shreshold guardian has gateway figure(s), representing obstacles on the road to adventure and the dramatic function is to test the hero, both physically and psychologically (Vogler 1998; 1992). In a narrow sense, the threshold Guardian in Herge's work is Japanese army. They represent TINTIN’s obstacles on the road to TINTIN's adventure. Physically speaking, they try to arrest TINTIN. They also test TINTIN psychologically. For example, before TINTIN decides to go back Shanghai to find a cure for Didi's madness, he thinks if I do that, I'll have to get back through the Japanese line. However, in a broad sense, Gibbons and Dawson may be included in this classification. Although TINTIN dose not know their existence and dose not feel psychological fear from them, they always set up TINTIN's obstacles.

The herald often appears in ActⅠto bring a challenge to the hero. The herald is a new person condition influence or source of information that initiates action/changes the hero's viewpoint, and the dramatic function is to provide motivation for the hero to act, often providing the hero with a cause. The herald may be partly acted by a mentor (Vogler 1998; 1992). The herald in Herge's work is the stranger when TINTIN is staying at India as the guest of the Maharaja of Gaipajma in ActⅠ. He is a source of information that initiates TINTIN's action in this story, and then, his dramatic function is to provide motivation for TINTIN to go to China. Additionally, he is sent by Wang Chen-yee as TINTIN's mentor, although the fact just emerges at the first meeting of TINTIN and Wang Chen-yee.

The shapeshifter's dramatic function is to bring doubt and suspense into the story. The shapeshifter often wears one or more mask, literal or metaphorically and has a shifting and unstable character. Then the shapeshifter may deliberately set out to confuse or trick the hero, and may mislead the hero or keep him or her guessing. The shaesshiter may also be products of the hero's own projections (Vogler 1998; 1992). The shapeshifter in Herge's work is Didi. In ActⅠof the story, he guards TINTIN, but TINTIN is not sure whether he is his enemy or his supporter. Although it does not Didi's intention, he tries to cut off TINTIN's head at the first arranged meeting with TINTIN. Although this unfolding is not Didi's intention too, he even tries to cut off his parents' heads in the climax. His dramatic function is to bring doubt and suspense into the story. Moreover, Didi becomes a product of the TINTIN's own 'projections' in ActⅡ. After TINTIN escapes to go to madness, TINTIN says 'if it hadn't been for your servant I'd have been a victim, too…' Then TINTIN decides to go back to Shanghai to find a cure for Didi's madness.

The shadow presents the nervy of the dark side: unexpressed, unrealized or rejected aspects of the hero. The dramatic function is to challenge the hero on the deepest level and provide a worthy opponent. The shadow may take several forms or wear several masks (Vogler 1998; 1992). In a narrow sense, the shadow in Herge's work is Mitsuhiroshi. First, Wang Chen-yee's explains Mitsuhirato's dark side. 'He's a Japanese secret agent in China… and at the same time, one of the most active and evil of men… Not content with spying, he has joined forces with opium smaugglers… he helps them distribute all over the world’. Moreover he is the principal organizer of the attack on the Shanghai Nankin railway. Surely Mithuhirato provides a worthy opponent. Additionally, at the first meeting with TINTIN, Mitsuhirato tries to deceive TINTIN that TINTIN must go back to India because the Maharaja of Gaipajam is in great danger. Meanwhile, Vogler suggests that it includes villains, antagonists or enemies. Therefore, in a broad sense, it can be said that Gibbons and Dawson may be included in this classification.

The trickster is arguably a subset of shapeshifter; include clowns and other kinds if comic side-kicks (Vogler 1998; 1992). The tricksters in Herge's work are Thomson and Thompson. They may supplement the absence of Didi at Hukow. Then their psychological functions include comic relief.

Although Chang dose not fit any 'archetypes' Vogler (1998; 1992) presented, the other main characters in Herge's work replicate the 'archetypes'.

In conclusion, about structure, there are tow main deviations. The one is this is series. The other is the existence of Chang. About characher, the deviation is again the existence of Chang. However, it can be said that most of Herge's work replicate Vogler's (1998; 1992) plot points.



List of references

Herge. (2005, 1935). The adventure of TINTIN: The blue lotus. London: Methuen.

Mountfort, P. (2007). Filmic narrative: PartⅡ: Chracterrisation and archetype [Lecture]. Auckland: AUT university.

Mountfort, P. (2006). The grammar of POP genres: PartⅠ: Mythic structures [Lecture]. Auckland: AUT university.

Vogler, C. (1998). The writer's journey: Mythic structure for writers (2nd ed.). California, US: Michael Wiese Productions.