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| I dunno. I searched for "story patterns" in Google Images, and this is what it gave me. |
Who wants to see even more examples of the 34 Common Plot Patterns in action? Well, I got 38 more movies to throw on the pile. [What are plot patterns, you ask? Read this article if this is your first time hearing about this concept.]
Really, at this
point, I’m just amassing mountains of evidence for anyone who still
is not convinced of the plot pattern phenomena. Plot patterns are no
mere isolated occurrences. And my theory is not the result of simply
finding a handful of movies which happen to share the same structural
design. The presence of the 34 common plot patterns is utterly
pervasive in Hollywood and American Independent cinema. Nearly every
narratively-successful American film of traditional three-act form
produced over the last forty years (and even beyond) follows one or a
combination of the thirty-four patterns I have outlined on this blog
and in my book Screenwriting & The Unified Theory of
Narrative, Part II.
Of
course, this is not entirely uniform. Some films follow the patterns
more closely than others. (That is, some are “prototypical” and
others “non-prototypical.”) However, I have observed that the
less a film adheres to a designated pattern, the less success it
tends to have with its viewing audience. And, as I have mentioned
before, Hollywood dumps out a lot of stinkers that contain no pattern
or a confused mish-mash of their constituent elements. These are
typically the exceptions which prove the rule, as such patternless
films usually do quite poorly with audiences (hence the qualifier
“narratively-successful” used in my earlier statement). [Also, I
must note that “narrative success” is never necessarily related
to commercial success. Anyone can be duped into buying a ticket for a
bad movie, and thus box office income is a completely different
metric. By narrative success, I refer to the viewers’ qualitative
opinion of the story; whether it is “good” or “bad.”]
Additionally, the few narratively-successful films with stories I
have not been able to categorize tend to bear striking structural
resemblances to each other,
suggesting that they too follow a plot pattern. Yet this potential
pattern is one I have not yet been able to identify due to its rarity
and current lack of enough examples to confirm the new pattern’s
structure. Hopefully, I will be able to announce the discovery of
these patterns soon.
I
am not going to go into detail with this list of films as I did with
the previous four installments of this article series (because,
frankly, it’s pretty exhausting). I have already discussed half of
these patterns in recent articles, anyway. Instead, I will simply
provide the titles, their patterns, and notes where needed. Please
refer back to this previous article
and its follow-up here
for brief descriptions of the 34 patterns with examples. (Otherwise,
this list is just a bunch of names and numbers.) Hopefully, if you
are familiar with the titles below, the pattern’s description and
its prototypical examples will be all you need to see how the
particular movie fits into the mold. Also, refer to this additional section
for information on hybrids, combo patterns, and dual-protagonist
narratives.
The Addams Family (1991) — Dual-protagonist narrative:
Addams Family grants separate protagonist status to two characters: Fester and Gomez. As such, each protagonist follows their own pattern. Fester’s line is a 3b: Crisis of Conscience. (Fester is initially an impostor used by the story’s villains to con the family. He then has a reversal of loyalties and turns on the villains.) Gomez’s line is a 7a: The Infecting Being. (Gomez does not suspect any threat from these villains until it is too late.) Since these two patterns are intertwined into a singular narrative (and done quite skillfully, I might add), neither is wholly prototypical as each pattern must accommodate for the essential dramatic events of its opposite.
Addams Family grants separate protagonist status to two characters: Fester and Gomez. As such, each protagonist follows their own pattern. Fester’s line is a 3b: Crisis of Conscience. (Fester is initially an impostor used by the story’s villains to con the family. He then has a reversal of loyalties and turns on the villains.) Gomez’s line is a 7a: The Infecting Being. (Gomez does not suspect any threat from these villains until it is too late.) Since these two patterns are intertwined into a singular narrative (and done quite skillfully, I might add), neither is wholly prototypical as each pattern must accommodate for the essential dramatic events of its opposite.
Air Force One (1997) — Combo pattern
Air Force One follows the structure of 12: The Vengeance Narrative for Acts 1, 2A & 2B. (In terms of the shape and function of its major plot events, that is. Air Force One shows that the structure of the “Vengeance Narrative” can be adapted to stories that are not essentially about revenge.) After the (premature) death of the antagonist at the end of Act 2B, the film transitions to 8b: There & Back Again for its final act (the pattern’s trademark Act 3 escape and return home).
Air Force One follows the structure of 12: The Vengeance Narrative for Acts 1, 2A & 2B. (In terms of the shape and function of its major plot events, that is. Air Force One shows that the structure of the “Vengeance Narrative” can be adapted to stories that are not essentially about revenge.) After the (premature) death of the antagonist at the end of Act 2B, the film transitions to 8b: There & Back Again for its final act (the pattern’s trademark Act 3 escape and return home).
Aladdin (1992) — 2b: Breakaway Hero, but also contains some
hybrid elements from 2a: The Summoned Hero.
Beverly Hills Cop (1984) — 9b: Voluntary Snowball of
Complications
City Slickers (1991) — 1a: Reluctant Hero
The protagonist transitions from a passive-reactive character to one who proactively takes charge of the story situation after the Midpoint. This is the clearest identifier of a Reluctant Hero.
The protagonist transitions from a passive-reactive character to one who proactively takes charge of the story situation after the Midpoint. This is the clearest identifier of a Reluctant Hero.
Cloverfield (2008) — A hybrid Snowball of Complications,
combining structural elements from both the Voluntary and Involuntary
varieties.
Cloverfield demonstrates qualities of the Voluntary Snowball in that the lead character voluntarily chooses to continually advance into more dangerous territory out of the desire to rescue his trapped ex-girlfriend when he could simply escape the chaos to safety. The shape of the plot, however, conforms to the structure of the Involuntary Snowball in that this complication involving the ex-girlfriend character is established at the End of Act 1 and resolved at the End of Act 2B.
Cloverfield demonstrates qualities of the Voluntary Snowball in that the lead character voluntarily chooses to continually advance into more dangerous territory out of the desire to rescue his trapped ex-girlfriend when he could simply escape the chaos to safety. The shape of the plot, however, conforms to the structure of the Involuntary Snowball in that this complication involving the ex-girlfriend character is established at the End of Act 1 and resolved at the End of Act 2B.
Contact (1997) — 10b: Overreacher
As one of the “Rise & Fall” plot patterns, Overreachers typically end with their flawed protagonists receiving an ultimate comeuppance for their overweening ambition. The protagonist suffers a downfall at the Midpoint, receives a second chance in Act 2B, but falls back onto their flawed old habits to meet defeat once again in Act 3. Contact, however, demonstrates that this need not always be the case. The Overreacher may conclude with a Celebratory resolution if the protagonist learns from his or her past mistakes and makes good on the second chance to succeed in the end.
As one of the “Rise & Fall” plot patterns, Overreachers typically end with their flawed protagonists receiving an ultimate comeuppance for their overweening ambition. The protagonist suffers a downfall at the Midpoint, receives a second chance in Act 2B, but falls back onto their flawed old habits to meet defeat once again in Act 3. Contact, however, demonstrates that this need not always be the case. The Overreacher may conclude with a Celebratory resolution if the protagonist learns from his or her past mistakes and makes good on the second chance to succeed in the end.
The Curious Case of Benjamin Button (2008) — None.
Trick question. Like Forrest Gump, Benjamin Button is not a traditional three-act Spine & Character Arc narrative. It instead employs an alternative narrative structure I have named the God Narrative. Click here for an article describing the God Narrative. In fact, the structural resemblances between Button and Gump are uncanny.
Trick question. Like Forrest Gump, Benjamin Button is not a traditional three-act Spine & Character Arc narrative. It instead employs an alternative narrative structure I have named the God Narrative. Click here for an article describing the God Narrative. In fact, the structural resemblances between Button and Gump are uncanny.
Despicable Me (2010) — 5c: Exploiter
A rare Celebratory Exploiter. (See the entries on Nightcrawler and The Big Short in this previous article for information on the Exploiter.) Like the Overreacher, the Exploiter also features ambitious, and often highly unscrupulous, protagonists who typically meet sad or ignoble ends. Yet in Despicable Me, the protagonist Gru undergoes a complete reversal in his Character Arc, turning him from a heartless exploiter to a sympathetic caretaker, allowing the story its up-ending. Of course, Despicable is a work of pure fantasy. A complete character reversal of this type might be implausible or even impossible for more realistic narratives.
A rare Celebratory Exploiter. (See the entries on Nightcrawler and The Big Short in this previous article for information on the Exploiter.) Like the Overreacher, the Exploiter also features ambitious, and often highly unscrupulous, protagonists who typically meet sad or ignoble ends. Yet in Despicable Me, the protagonist Gru undergoes a complete reversal in his Character Arc, turning him from a heartless exploiter to a sympathetic caretaker, allowing the story its up-ending. Of course, Despicable is a work of pure fantasy. A complete character reversal of this type might be implausible or even impossible for more realistic narratives.
E.T. (1982) — 15a: The
Tragic Alliance
Most Tragic Alliances are romance narratives, but E.T. shows that a prototypical Tragic Alliance works just as well for stories about other close personal relationships.
Most Tragic Alliances are romance narratives, but E.T. shows that a prototypical Tragic Alliance works just as well for stories about other close personal relationships.
First Blood (1982) — 6a:
The Destructive Beast
John Rambo is more aggressive than the usual Destructive Beast protagonist (these protagonists are typically victims of persecution who must continually run & escape, run & escape). Yet the circumstances of the story conflict in First Blood are the same as those found in The Incredible Hulk (2008, another Destructive Beast). The protagonist wouldn’t cause any trouble if the antagonists would simply leave him alone. But no, they got to keep poking the bear, at the same points of attack found in any Destructive Beast, until Rambo is left with no choice but to turn the tables in Act 3 to force his antagonizers to back down.
John Rambo is more aggressive than the usual Destructive Beast protagonist (these protagonists are typically victims of persecution who must continually run & escape, run & escape). Yet the circumstances of the story conflict in First Blood are the same as those found in The Incredible Hulk (2008, another Destructive Beast). The protagonist wouldn’t cause any trouble if the antagonists would simply leave him alone. But no, they got to keep poking the bear, at the same points of attack found in any Destructive Beast, until Rambo is left with no choice but to turn the tables in Act 3 to force his antagonizers to back down.
The Fugitive (1993) — 1a:
The Reluctant Hero
The presence of the Tommy Lee Jones character made me initially believe this film to be a 16a: Moral Mirrors, but the structure does not fit. Fugitive in fact closely follows the structure of the Reluctant Hero: By poor luck or fate the protagonist is swept up into a dramatic situation outside of his control (Dr. Kimble is falsely convicted of the murder of his wife; the prison transport then crashes through no action of Kimble’s). Though partially committed to the situation, the protagonist initially responds to events in a passive or reactive manner (Kimble does little more than run away to avoid capture throughout Act 2A). At the Midpoint, the protagonist transitions from passive/reactive to proactive in an effort to seize control of the situation in Act 2B (Kimble goes from simply running to actively seeking the real killer so he may clear his name). Act 3 then presents the ultimate test of this transition (Kimble attempts to apprehend the killer, even though the authorities are right on his heels).
The presence of the Tommy Lee Jones character made me initially believe this film to be a 16a: Moral Mirrors, but the structure does not fit. Fugitive in fact closely follows the structure of the Reluctant Hero: By poor luck or fate the protagonist is swept up into a dramatic situation outside of his control (Dr. Kimble is falsely convicted of the murder of his wife; the prison transport then crashes through no action of Kimble’s). Though partially committed to the situation, the protagonist initially responds to events in a passive or reactive manner (Kimble does little more than run away to avoid capture throughout Act 2A). At the Midpoint, the protagonist transitions from passive/reactive to proactive in an effort to seize control of the situation in Act 2B (Kimble goes from simply running to actively seeking the real killer so he may clear his name). Act 3 then presents the ultimate test of this transition (Kimble attempts to apprehend the killer, even though the authorities are right on his heels).
Gran Torino (2008) — Hybrid
Taking on the Mantle, combining structural elements from 3a: Crisis
of Character and 3b: Crisis of Conscience.
As a socially-isolated misanthrope, the story forces Clint Eastwood’s protagonist to open up to meaningful interpersonal relationships in the manner of a Crisis of Character. In the process, he is compelled by these new friends to take heroic action in the style of a Crisis of Conscience.
As a socially-isolated misanthrope, the story forces Clint Eastwood’s protagonist to open up to meaningful interpersonal relationships in the manner of a Crisis of Character. In the process, he is compelled by these new friends to take heroic action in the style of a Crisis of Conscience.
Gremlins (1984) — 7a: The
Infecting Being
Following the footsteps of the original Alien (1979), Gremlins is about as prototypical (and literal) as an Infecting Being narrative can get. Read the description and you will see what I mean.
Following the footsteps of the original Alien (1979), Gremlins is about as prototypical (and literal) as an Infecting Being narrative can get. Read the description and you will see what I mean.
Groundhog Day (1993) — 1a:
The Reluctant Hero
Same drill as before: The protagonist is unwillingly swept up into a dramatic predicament outside of his control. The protagonist at first responds to situations in a passive or reactive manner. At the Midpoint, the protagonist transitions to proactivity in order to seize control of his destiny. Act 3 contains the ultimate test of this transition.
Same drill as before: The protagonist is unwillingly swept up into a dramatic predicament outside of his control. The protagonist at first responds to situations in a passive or reactive manner. At the Midpoint, the protagonist transitions to proactivity in order to seize control of his destiny. Act 3 contains the ultimate test of this transition.
Ice Age (2002) — Primarily
8a: The Quest; however, the Diego character’s subplot follows 3b:
Crisis of Conscience.
It’s a kids’ film. Not really anything worth examining too deeply. Nice to see another good example of the Quest, though. The Quest is not found very often, but the few popular prototypes are all excellent films (The Lord of the Rings: The Fellowship of the Ring, Saving Private Ryan, Children of Men).
It’s a kids’ film. Not really anything worth examining too deeply. Nice to see another good example of the Quest, though. The Quest is not found very often, but the few popular prototypes are all excellent films (The Lord of the Rings: The Fellowship of the Ring, Saving Private Ryan, Children of Men).
The Incredibles (2004) —
2c: Returning Hero
This one is pretty obvious. The Incredibles literally tells the story of a HERO who returns to action, with a structure that sticks close to the established pattern.
This one is pretty obvious. The Incredibles literally tells the story of a HERO who returns to action, with a structure that sticks close to the established pattern.
Interview with the Vampire
(1994) — 2b: Breakaway Hero
Like all Breakaway Heroes, Vampire is the story of a character who breaks away from his master/benefactor to achieve an independent identity, only to have that master/benefactor return late in the story to threaten the hero with destruction. One deviation: It is not the original master who enacts revenge at the end of Vampire’s Act 2B, but the vampire community at large, exacting punishment for violating the rule against vampires killing their own kind.
Like all Breakaway Heroes, Vampire is the story of a character who breaks away from his master/benefactor to achieve an independent identity, only to have that master/benefactor return late in the story to threaten the hero with destruction. One deviation: It is not the original master who enacts revenge at the end of Vampire’s Act 2B, but the vampire community at large, exacting punishment for violating the rule against vampires killing their own kind.
The Karate Kid (1984) —
1a: Reluctant Hero
Once again, Daniel is passive/reactive in the first half of the film, proactive in the second half. (Daniel does not ask Mr. Miyagi to teach him karate until the story’s Midpoint.) Act 3 is entirely made up of a test of this personal transformation (the karate tournament).
Once again, Daniel is passive/reactive in the first half of the film, proactive in the second half. (Daniel does not ask Mr. Miyagi to teach him karate until the story’s Midpoint.) Act 3 is entirely made up of a test of this personal transformation (the karate tournament).
Lethal Weapon (1987) —
Combo pattern: First half follows 14a: The Odd Couple, but makes the
transition to 9b: The Voluntary Snowball of Complications at the
story’s Midpoint.Lethal Weapon
starts out as a fairly prototypical Odd Couple, but then completely
drops that pattern as soon as the two leads gain each other’s
respect at the Midpoint. After that, the film becomes a series of
over-the-top Shane Black action sequences with the situation
snowballing out of control.
The Lion King (1994) — 5b:
The Ejected
(You may review the Ejected pattern by reading the sections on Big, The Shawshank Redemption, and Rushmore in the first installment of this series of articles.) The Lion King contains an extremely simple plot. (If the songs are removed, the film would be less than an hour long.) It is also fairly front-heavy, with a long Act 1 and a very short Acts 2A & 2B. However, it still follows the Ejected pattern fairly well, with one slight exception: Simba cannot be entirely blamed for his End of Act 1 ejection, as typical with the pattern. This event is mostly the work of the villain Scar. However, Simba is still partially at fault, as his impetuousness and gullibility play right into Scar’s plan, sending Simba into exile.
(You may review the Ejected pattern by reading the sections on Big, The Shawshank Redemption, and Rushmore in the first installment of this series of articles.) The Lion King contains an extremely simple plot. (If the songs are removed, the film would be less than an hour long.) It is also fairly front-heavy, with a long Act 1 and a very short Acts 2A & 2B. However, it still follows the Ejected pattern fairly well, with one slight exception: Simba cannot be entirely blamed for his End of Act 1 ejection, as typical with the pattern. This event is mostly the work of the villain Scar. However, Simba is still partially at fault, as his impetuousness and gullibility play right into Scar’s plan, sending Simba into exile.
Major League (1989) —
Hybrid Small Man/Woman Rises, incorporating narrative elements from
both 2a: The Summoned Hero and 2b: The Breakaway Hero.
The story’s collective protagonists (the members of the team) are summoned to fill an important role in Act 1, and are trained by a mentor in Act 2A (elements of the Summoned Hero). However, the protagonists eventually learn that their master/benefactor (the team owner) is working against their best interests, prompting them to break away and become independent heroes by winning the pennant (elements of the Breakaway Hero).
The story’s collective protagonists (the members of the team) are summoned to fill an important role in Act 1, and are trained by a mentor in Act 2A (elements of the Summoned Hero). However, the protagonists eventually learn that their master/benefactor (the team owner) is working against their best interests, prompting them to break away and become independent heroes by winning the pennant (elements of the Breakaway Hero).
Mean Girls (2004) — 1b:
Wrongway Hero
Due to internal weaknesses, the protagonist is lured into following a faulty path. The protagonist discovers this error at the Midpoint. The protagonist then turns a 180 and, for the remainder of the film, fights against the current to correct the actions he/she previously committed in order to put life on a healthier path. The Graduate provides a prototypical example.
Due to internal weaknesses, the protagonist is lured into following a faulty path. The protagonist discovers this error at the Midpoint. The protagonist then turns a 180 and, for the remainder of the film, fights against the current to correct the actions he/she previously committed in order to put life on a healthier path. The Graduate provides a prototypical example.
Midnight Run (1988) — 8a:
The Quest
The Quest: What initially appears to be a simple mission (usually involving a macguffin), becomes extended by complications at the end of each act. This demands that the protagonist continually choose to escalate his/her involvement, becoming more and more dedicated to selfless heroic action.
The Quest: What initially appears to be a simple mission (usually involving a macguffin), becomes extended by complications at the end of each act. This demands that the protagonist continually choose to escalate his/her involvement, becoming more and more dedicated to selfless heroic action.
My Cousin Vinny (1992) —
Combo pattern: Begins as 2a: Summoned Hero, then transitions into 1b:
Wrongway Hero after the End of Act 1 Turning Point.
Pitch Black (2000) — 14a:
The Odd CouplePitch Black
shows the flexibility of the Odd Couple pattern in terms of genre and
story premise. While most often associated with “buddy films”
where two characters of conflicting personalities learn to get along
so they may cooperate in pursuit of personal goals, Pitch
Black presents a sci-fi horror
where the two leads cannot trust each other, yet must work together
for their own survival.
Platoon (1986) — 7b: The
Infecting Idea
Read the sections on Se7en and Close Encounters of the Third Kind in Part 3 of this series for more information on the Infecting Idea. In the Infecting Idea, the story’s malevolent force tends to be more psychological than physical. In Platoon, we clearly see the pattern of characters becoming mentally “infected” at the Midpoint, causing infected and non-infected characters to turn on each other in Acts 2B & 3.
Read the sections on Se7en and Close Encounters of the Third Kind in Part 3 of this series for more information on the Infecting Idea. In the Infecting Idea, the story’s malevolent force tends to be more psychological than physical. In Platoon, we clearly see the pattern of characters becoming mentally “infected” at the Midpoint, causing infected and non-infected characters to turn on each other in Acts 2B & 3.
Pretty Woman (1990) — 14b:
Coming Together
Ratatouille (2007) — Combo
pattern
To be honest, Ratatouille is not one of my favorite Pixar films. For a franchise known for its excellent story structures, Ratatouille is... not so great. The story begins as a 4b: The Ejected. Remy the Rat, pursuing a personal ambition, makes an error which effectively ejects him from his familiar environment. Yet what would usually be the opening sequences of an Ejected’s Act 2A are then folded into the beginning of a new pattern, 14b: Coming Together. This means, structurally, Ratatouille suffers from a false start. The film then forces sources of conflict extraneous to the Coming Together into the narrative, along with an Odd Couple subplot between Linguini and Colette, in an effort to give its soft premise more drama. This does not always work so well. Yet evidently, this was seen as necessary to keep its young audience interested in a film which is essentially an animated take on watching Mom or Dad make dinner.
To be honest, Ratatouille is not one of my favorite Pixar films. For a franchise known for its excellent story structures, Ratatouille is... not so great. The story begins as a 4b: The Ejected. Remy the Rat, pursuing a personal ambition, makes an error which effectively ejects him from his familiar environment. Yet what would usually be the opening sequences of an Ejected’s Act 2A are then folded into the beginning of a new pattern, 14b: Coming Together. This means, structurally, Ratatouille suffers from a false start. The film then forces sources of conflict extraneous to the Coming Together into the narrative, along with an Odd Couple subplot between Linguini and Colette, in an effort to give its soft premise more drama. This does not always work so well. Yet evidently, this was seen as necessary to keep its young audience interested in a film which is essentially an animated take on watching Mom or Dad make dinner.
Scream (1996) — 6a:
Destructive Beast
Check out this previous article for a detailed explanation of the Destructive Beast pattern. Unlike in most “slasher” films, the killer in Scream does not choose its victims indiscriminately. It targets the protagonist Sydney from the start, setting up the Destructive Beast’s familiar structure of attack/escape, attack/escape. Scream, however, demonstrates some alternative options in the Destructive Beast. The “Beast” need not always attack the protagonist directly. It may alternatively commit indirect assaults by attacking innocent persons close to the protagonist.
Check out this previous article for a detailed explanation of the Destructive Beast pattern. Unlike in most “slasher” films, the killer in Scream does not choose its victims indiscriminately. It targets the protagonist Sydney from the start, setting up the Destructive Beast’s familiar structure of attack/escape, attack/escape. Scream, however, demonstrates some alternative options in the Destructive Beast. The “Beast” need not always attack the protagonist directly. It may alternatively commit indirect assaults by attacking innocent persons close to the protagonist.
Speed (1994) — 9a:
Involuntary Snowball of ComplicationsSpeed is
deceptive in that its trailer, promotional materials, and even its
title all suggest that the film’s Spine is all about the speeding
bus. However, the situation on the bus is not the main Story Problem.
It is the Involuntary Snowball’s End of Act 1 complication. Act 1
establishes the main Story Goal: Capture the mad bomber (in the
prolonged opening elevator sequence). The mad bomber then rigs the
bus as revenge against the hero for ruining his Act 1 plans (the
complication which begins Act 2A). Acts 2A & 2B are all about
dealing with this complication. In prototypical fashion, this
complication is resolved at the end of Act 2B. The story then shifts
its focus back onto the original problem for Act 3: Capturing the mad
bomber.
Talladega Nights: The Legend of Ricky Bobby
(2006)— Combo pattern: 10b: The Overreacher + 7c: The Spoiler.
Talladega starts
out as an Overreacher (a variety of a Rise & Fall narrative where
an over-ambitious character is always reaching for more than social
forces will allow). It shifts into a Spoiler in Act 2A with the
arrival of the Sasha Baron Cohen character. It then returns to the
Overreacher at the Midpoint with the protagonist’s downfall, Act 2B
desperation, and the seizing of the second chance offered in late Act
2B.
Ted (2012) — A hybrid
Loving Alliance, combining structural elements from 15a: Tragic
Alliance and 15b: Toxic Alliance.
The Tragic Alliance is about a partnership that fights to stay together against outside forces vying to pull them apart. The Toxic Alliance is about a partnership threatened by internal differences and conflicting ambitions. Ted’s partnership is threatened by both internal and external pressures, making it a hybrid Loving Alliance.
The Tragic Alliance is about a partnership that fights to stay together against outside forces vying to pull them apart. The Toxic Alliance is about a partnership threatened by internal differences and conflicting ambitions. Ted’s partnership is threatened by both internal and external pressures, making it a hybrid Loving Alliance.
Thor (2011) — 5b: The
Ejected
Top Gun (1986) — 2a:
Summoned Hero
Non-prototypical in one regard: In most Summoned Heroes, the protagonist graduates training/apprenticeship at the Midpoint so he/she may spend the rest of the film confronting the story’s real-world problems. In Top Gun, “graduation” is delayed until the end of Act 2B. This is an acceptable alternative form of the pattern, as Top Gun is a story more about personal growth and the acquisition of life skills than any specific mission for which these skills are needed.
Non-prototypical in one regard: In most Summoned Heroes, the protagonist graduates training/apprenticeship at the Midpoint so he/she may spend the rest of the film confronting the story’s real-world problems. In Top Gun, “graduation” is delayed until the end of Act 2B. This is an acceptable alternative form of the pattern, as Top Gun is a story more about personal growth and the acquisition of life skills than any specific mission for which these skills are needed.
Walk the Line (2005) — 10b:
Overreacher
This film’s pattern becomes simple to identify as soon as June Carter literally tells the protagonist Johnny Cash “We’ve been given a second chance” in late Act 2B. A Midpoint downfall followed by a late 2B second chance is the most defining feature of the Overreacher structure.
This film’s pattern becomes simple to identify as soon as June Carter literally tells the protagonist Johnny Cash “We’ve been given a second chance” in late Act 2B. A Midpoint downfall followed by a late 2B second chance is the most defining feature of the Overreacher structure.
Witness (1985) — Combo
pattern: Begins as 9a: Involuntary Snowball of Complications, but
transfers into 2b: The Breakaway Hero in Act 2A.
X-Men (2000) — The first
X-Men film follows the Summoned Hero pattern—but does so in a
pretty wonky way. This is primarily because the film is never
entirely clear about which character is supposed to be its actual
protagonist: Logan/Wolverine or Rogue. Though the film gives the
lion’s share of attention to Wolverine, all the major dramatic
turning points center upon Rogue. As such, the development of X-Men’s
Summoned Hero pattern is kind of rocky. The character lines of both
characters fit into the pattern. The film is just inconsistent about
who the titular “hero” is at any moment. X-Men
does, however, evince an interesting alternative form of the Summoned
Hero. In X-Men, Rogue
is “summoned” not by a benign force to serve an extraordinary
purpose, but by the villain to be used for a nefarious purpose. In
most Summoned Heroes, the summoning force and the mentor character
are either the same individual or allied on the same side. In X-Men,
the summoning force (Magneto) is directly opposed by the mentor
(Professor Xavier), adding an interesting wrinkle to the standard
conflict.
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