Telling stories with powerful archetypes | Advanced Scifi & Fantasy FOUR | Damien Walter | Skillshare

Telling stories with powerful archetypes | Advanced Scifi & Fantasy FOUR

Damien Walter, Writer for The Guardian, BBC, Wired.

Telling stories with powerful archetypes | Advanced Scifi & Fantasy FOUR

Damien Walter, Writer for The Guardian, BBC, Wired.

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6 Lessons (1h 13m)
    • 1. Intro to archetypal storytelling

    • 2. The hidden meaning of Blade Runner 2049

    • 3. Myths of human liberation.

    • 4. Jungian psychology

    • 5. Writing Challenge - Archetypal Storytelling 2

    • 6. How the original Blade Runner constructs an empathy test...for the audience.

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About This Class

Every story has two levels - the Surface and the Archetypal

On the surface every story is unique.

But beneath the surface level all stories explore the same basic patterns of human life - the archetypes.

The fourth workshop in Advanced Scifi & Fantasy : writing the 21st century myth, begins with a deep dive into one of the great masterpieces of 21st century cinema - Blade Runner 2049.

Then we explore how the archetypes introduced in Blade Runner 2049 can be used to tell fascinating stories of any kind. Archetypal storytelling is one of the most powerful techniques available to writers, movie makers or storytellers of any kind.

Ego. Id. Anima. Shadow. God. Self. Our inner archetypes are the key to infinite stories.

Meet Your Teacher

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Damien Walter

Writer for The Guardian, BBC, Wired.


Damien Walter ( BA / MA / PGCHE / HEA) teaches good writers how to be great. His research and critical writing have been published in The Guardian, Wired, BBC, The Independent, Aeon and with Oxford University Press. He is a former director of creative writing at the University of Leicester, a member of the Higher Education Academy, and a graduate of the Clarion writers workshop taught by Neil Gaiman. He consults widely for businesses in technology, healthcare, and manufacturing to help them tell great stories.


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1. Intro to archetypal storytelling: Hello, welcome back to advanced sci-fi and fantasy writing, the 21st century myth. In this workshop, we're gonna be looking at kit dipole storytelling. One of the most advanced and powerful techniques for writing any kind of story, but especially sci-fi fantasy. And for modern day, myth-making, we're gonna be looking at archetypal storytelling in relation to one of the masterpieces of modern cinema on science fiction storytelling. Blade Runner 2049. If you haven't watched it yet, please watch the introductory tool kit should becoming about now. 2. The hidden meaning of Blade Runner 2049: Blade Runner 2049 is a vision of a nightmare future. Humanity is engaged in a desperate struggle to escape it's dying home weld. The growth of the human population has collapsed the ecosystem. The survivors live in cities like Aunt hives, in slaves, to powerful corporations. This is the world we fear. We are heading towards a world in which the machines we built to liberate us have instead enslaved us. And it's golden age science fiction predicted that technology would save us bigger and better machines from kitchen gadgets to space rockets would liberate humankind. But as technology failed to meet its promise, science fiction turned to Dhaka, envisions cyber punk, envision futures where technology enslaved humanity within our machines. Blade Runner 2049 is the ultimate cyber punk, efficient, a future health scape that realizes almost terrifying nightmares of where technology is taking us. Technology can replicate human life itself, to enslave it, to remake humans from the DNA up as a BD and Sevens of capitalism thing, isn't it? I wouldn't waste your money on intelligence, attachment or appeal unless you'd like to add some pleasure models, do you? Blade Runner 2049, science itself has been perverted as a tool of power and control. If humankind can no longer believe in science as our Savior, where can we turn for liberation? Allegory, story that can be interpreted to reveal a hidden meaning, often philosophical, political, or religious. It's wrath a Hollywood to spend $160 million on allegorical storytelling. The box-office floppy Blade Runner 2049 is a reminder why it's a movie that like the original Blade Runner, disappointed audiences. You came expecting sci-fi blockbusters cinema. Stories being told on a hidden level beneath the surface are often a mess on the surface. And audience is used to watching the surface level of blockbuster movies may miss the hidden meaning of an allegory entirely. Alphonse. Oh, Warren's gravity. Plex audiences who noticed the bad physics, but missed the allegorical story of grief and recovery. Mother, by Daron our and lt. Ski befuddled audiences who did not see the Biblical allegory beneath its surface. Allegory also offends our modern belief that our personal interpretation of a story is valid. It's ironic that allegory with its hidden layer of meaning is entirely unforgiving to audience interpretation. Dante's Divine Comedy is an allegory of religious morality. George Orwell's Animal Farm allegorize is Soviet communism. And that'll land the lion is Jesus Christ. Whether you get them on not these allegorical meanings and not up for negotiation. Blade Runner 2049 creates arguably the most intricate and fascinating allegory in contemporary cinema. But despite thousands of essays, fan fairies and YouTube videos interpreting the meaning of Blade Runner 2049. Most of the audience is blind to the movies hidden allegorical meaning. And I'll agree that from the Fred's of science fiction weaves an intensely religious meaning. Because Blade Runner 2049 is a movie woven with religious symbolism and apocalyptic hell scape, a miraculous birth and enslaved people, and messianic savior, a jealous God fall and women are rising angels and themes of slavery and liberation ripped straight from Christian theology. It's also a movie that exists in symbiotic relationship with the original Blade Runner. A film that constructs an empathy test for the audience built around the myth. If Jesus Christ himself, Blade Runner, 20-40, 9's religious symbols are studied into the fabric of science fiction. Androids, or metaphor for lost souls seeking redemption, the future becomes the landscape or the apocalypse. Flying cars do double duty as Chariots of Heaven. To unlock the hidden meaning of this religious allegory, we need a key. A key we will find in a towel beside a lake where call Gustav Young is dreaming. In 1915, the psychologist Carl Young undertook a journey to discover his true self. With his mentor Sigmund Freud, Young had helped to define the new field of psychology and to offer one of the most important ideas at the 20th century, the theory of the human unconscious or conscious mind, argued Freud and Young, was only the tip of an iceberg. The parts of the iceberg below the waterline they called the unconscious because they existed beyond the perception of the conscious mind. Freud believed the unconscious contained only our base animal instincts, that our conscious mind was our real self. Young believes that our conscious mind was only a small aspect of ourself. And the, by exploring the unconscious, we would find our true self. Young, retreated from the world to a tower here built on the shores of Lake Geneva. Over the next 15 years, young created the art and writing collected in his famous Red Book, recording his exploration of the unconscious young cold. This process of unconscious exploration, active imagination through it. He believed he could map the territory of the unconscious. There. He found a land peopled with mythical characters that he named the archetypes. Young theorized that by meeting an, integrating the archetypes of the unconscious in a process called individuation, humans could discover. Our true self. Was told, yeah, to survive in the world, humans must create a persona. Who are we? Where do we belong? What is our value? As we find answers to these questions, our persona takes shape. The persona is formed from a process of repression. We forget the parts of our self that do not fit the persona until we come to believe that the persona is our real self and forget our true self entirely. The persona believes it is the center of its own little story. The protagonist of a vital drama, a hero on a special journey, the one chosen to save the world. But in truth, the listener is only one of many with no special destiny or fate to fulfill. The aspects of the self we have forgotten continue as the archetypes. We project the archetypes into the world and onto others. Parents, friends, lovers, and enemies are all a canvas for the projection of all forgotten self. To recover our true self, the persona must confront and integrate the archetypes. The ego is the part of the self that is trained into a persona. The ego fills isolated and alone if feels itself always as a victim and a cruel and harsh world to survive, the ego looks to others for protection. The ID is the part of the self that just wants to survive. The edX offers the ego protection. Now the cost of being trained as a persona, the aired needs that persona to work hard to provide materials to keep the OED in comfort. The superego is the archetype within the self that demands social conformity. It monitors the persona to keep. A defined baseline and prevents us from becoming into literally. The priestess is a feminine manifestation of the governor archetype. It is the governor's function to keep order at all costs. Well-trained persona's are conditioned to do here to obey the order, which uses them as slaves. Hey, even getting on fine without one. What's that matter? I saw the anime or archetype manifests older qualities repressed to create a male is Sirona, fineness, intimacy, emotionality, love. The anime or archetype will seem to fulfill all of them male persona's needs. The anima is merely a rejection of early archetypes we project into the wild. The animal is the most devastating to us. Humans wast entire lifetime searching for our idealized anima, creating the animal fantasy over and over again, suffering when reality fails to meet fantasy. Male persona who connects with real woman will reject for not being his anima fantasy. He relieving project his anima over the real human. Make love to his fantasy than awake again alone. The animal is the hardest to the archetypes to integrate it cause it is reinforced by the vast power of human sexuality, of desperate desire for the sexualized object that only the animal fantasy can fulfill will lead us to remake the anima again and again until we can face the vast power of eros client now f-in inside you. And that's so much there's the shadow logotype is both the most dangerous and the most essential to integrate. The shadow is made of all the parts of the self We are scared to no malice, hate, and violence, but also strength, determination, and willpower. All rest in the shadow. The shadow is the persona's mirror opposite. If the persona is cloaked in black, the shadow will wear white. The shadow when we meet them, will be a figure of both love and hate. We will be magnetically attracted to them while desperately trying to escape them. The integrated shadow will seek out and destroy anything that threatens that the sudden is in danger. The shadow will emerge to protect it. Often with shocking violence higher. The power and strength of the shadow is necessary to the process of individuation. The shadow will drive the persona to confront the architect and integrate it's forgotten self's. Finally, the shadow must be integrated and the persona must take on violence, power and strength has parts of its own true self. The father and the mother or other parts of the self we believe our parents should fulfill. The father has warped ahead on the path and we face bitter disappointment when he does not know the way the mother who should wish the best life for us is in fact, the ones who remind us we are not even the hero of our own story through adjective twice you. He or she taught us God is the most deceptive of the archetypes. God seems to be all-seeing, all-knowing, all-powerful. It is the god archetype who creates personas and destroys them. God gives life and God takes life away. The oldies jealous and insists you recognize No God but him. The gold archetype is the aspect of the self that keeps that true self hidden and secret. It shapes and controls all reality to keep the persona ignorant. But this God is false, not buried them. It isn't impotent, creates the can only make the facsimile of life, not life itself. Even God is only part of the forgotten self. Okay? The archetypes must be integrated on the process of individuation completed so the persona can discover it's true self. Before integration, the self manifests in us, says imagination and creativity. All dreams and visions, revelation and memory come from the self. Yeah, for the, by Mia, I take my freedom where I can find that future, but I can give you a good memories to think back on. The persona, believes the memories made by the self, it's own. Those memories and dreams into little story three or memory left, but the self shapes those stories to lead us back to it. The journey of every persona ends back at the true self. The self is not a being within reality, reality and being a playful game unfolding within the infinite imagination of the self. The self is not an archetype. The self is the source of the archetypes to some of old, it was repressed and the Galton to create the self is who we truly are. The archetypes of aid, an ego, anima and shadow, mother, father and God are all dreams within the self. The persona's final task is to surrender. Surrender to the realization that A2 is a creation of the self, older busyness, struggles and suffering. It's hero's journey through life. I've only been to bring it back to the true self. As the persona reaches up to touch the sky. It is the cell who plays beneath the snow. Allegory invites the audience into a private discussion that only those with the knowledge and willingness to decrypt the story can understand. Blade Runner 2049, allegorize is the union journey of self-actualization to lead the audience who are willing to follow through the hardest questions of human existence. What is it truly to be human? We just biological machines? Or are we seeing something more? Is our true self more than a living machine? Confining our true Self, show us an alternative path to liberation. I began my journey into science fiction and fantasy, looking for the first truly 21st century MF. And I think it's possible that in Blade Runner 2049, I found a strong example. 3. Myths of human liberation.: Okay, my name is Daniel and Walter Welcome back to advanced sci-fi and fantasy writing. The 21st century MF, We are looking archetype was storytelling and Blade Runner 2049. First of all, we're going to talk a little bit about that movie, which is a movie that I have tremendous respectful despite not enjoying it entirely. The first time I saw it about halfway through watching my first feeling that that movie I thought to myself, wait a second. This is all a bit union. I happened to be a kind of minor expert on the works of Carl Young and how they relate to storytelling. And I realized, I ha, there is a union allegory in this story. But even with my knowledge on that, it took me some time to pick apart Blade Runner 2049 and to find the allegorical meaning within. And I hope you have enjoyed and learned a little bit from our introductory breakdown of that movie. Throughout this course, we have been looking at searching for 21st century myths. And I think that maybe the leading candidate for a true mythological story of the 21st century is Blade Runner 2049. In that search, we'd been thinking about eternal questions. If you have watched the previous workshops, you'll know that we found an eternal question at the heart of each of the stories we've looked at. Frankenstein star was 2001 a Space Odyssey. And there is an eternal question at the heart of Blade Runner 2049 as well. And it's the question of human liberation. How do we as humans become free? How we liberated? How do we stop suffering? Because it seems like human life is kind of rough and tough. We were gonna get sick, we're going to get old, we're going to die. Sorry to be a downer, I think this workshop, but those appear to be the facts of human life. And throughout human history, we have wondered how we might be able to become free of these things and become free of other forms of suffering like slavery, like injustice within human society. And these questions are all wrapped up very closely together. And for a long time we had religious answers to these questions. You might, for instance, believe that you'll go to heaven if you behave yourself properly in this life, you may have a chance to go on to a next life to heaven, nor for the Vikings. Vow hello. But then in our modern world, we had a new story. We decided that instead, we might be able to escape suffering. By progressing. We might be able to make better technology and better machines. Get better knowledge about the world using science. And this would free us from all of these things that we felt we were trapped in before. And this has been quite successful. You look at areas of medicine or transportation or computation. Our technology has done a good job for us, but we've also started as a culture to become a bit fearful of where this technology might take us. Because the same technology that seems to liberate us also seems to create problems like climate change or like new forms of slavery and away people who are made to work in big factories for big businesses. And I'm trying to explain, you know, re, set some of what we looked at in that talk because this question of human liberation has been an old time, the tonal question for humankind. We have written many great mythic stories about it. And I believe that Blade Runner and 2049 is the most modern 21st century attempts to answer this question. Because it takes a kind of middle path between religion and science. And it arrives via the works of Carl Young and also Sigmund Freud, Tibet, and lots of other Angela, contemporary thinkers as well as psychological answer to this eternal question. So we're not going to go to heaven, may be just developing new machines. Won't answer the question either. Maybe it's an internal, Maybe it's a psychological issue of how we relate to the question of suffering. And I think I think that is what laid on a 2049 is pointing us towards Do you agree? Leave a comment. Come find me in any of the places where I can be found online and talk to me about it. I'm always overjoyed to hear from students on the course. We are also going to have at the conclusion of the course, because we haven't been able to make these workshops life. That was my ambition, hasn't been able to happen so far about the conclusion to cause R's are the fifth talk or the conclusion of Season One of the course. I am hoping there'll be a season two. I am hoping we will have a live seminar question and answers. So do you believe the eternal question of human liberation is found a different kind of answer in Blade Runner. The other thing that happens in Blade Runner 2049, if you remember in the last session, we were talking about the Hero's Journey and going beyond the hero's journey and are writing, we're going to build on that today when we think about archetype of storytelling. And because the hero's journey has become so widely used and very popular, especially in Hollywood storytelling. As a Hollywood movie, Blade Runner, 2049 does something a bit different. David peoples, the screenwriter, Geneva illness, the director. He's real altered director that like standing Kubrick. A modern day contemporary, Stanley Kubrick. They appear to set out to deconstruct the hero's journey. And that's very interesting because Blade Runner 2049 is related to the ideas of Karl Young. And via Joseph Campbell. The hero's journey is also related to the ideas of colleagues. And so is this exploration of all these yummy and ideas about the ego and the self and what we have in Blade Runner in the central character, officer K is a hero who is not a hero. He wants to go on his hero's journey. He wants to be a real boy, that Pinocchio reference there. He wants to become a real human. But he discovers in the process that this is a somewhat illusionary idea. The whole idea of the hero's journey requires that we have this identity that's gonna go on the Hero's Journey. And in popular culture, do you think about all kinds of movies like Kung Fu Panda? Kung Fu Panda is a classic hero's journey. There's a young adult panda bear and he becomes a hero of kung fu, classic hero's journey. Popular storytelling appeals to lots of people. We fulfill the hero's journey. And what you might call not in a judgmental way, but just use a term, what you might call high culture. We often tell stories where the hero's journey is not fulfilled. Or actually the problem that the character faces is this desire to have an identity, to be a hero, to go into the world and have a kind of epic journey that belongs to you. And we see that this is somewhat egotistical desire and Blade Runner 2049 takes this higher culture path or deconstructing the hero's journey. And both of these ideas. The eternal question we're talking about, human suffering and the hero's journey. Come back to union. Psychology. The ideas of Karl Young, who work very closely with Sigmund Freud and these two together, uh, kind of the fathers of modern psychology. Although many people have come and built many more ideas on them and sometimes contradicted or sought to disprove those ideas that came before. Because union psychologists is one model of psychology, but it's a very interesting one. It's a very powerful one to play around with storytellers. Storytellers love many of these ideas from Union psychology. If you take some time to look at the work of Clarissa ping colon Estes. She is an esteemed union psychologist and storyteller. And she does amazing explorations of how these work together. And I'm going to steal some ideas from how or another union storytellers to talk quickly about Jungian Psychology, which has these ideas at its heart, the idea of the ego, so this identity, so now that we construct for ourselves and the idea of the self that there's some greater grand self behind the ego that we can contact. I think contacting that self, we find answers to our suffering. Because Carl Jung was trying to help people. You spend the first 40 years of his career or 20 years of his professional career? First 40 years of his life trying to understand why people psychologically suffered. Why do people experience depression? Why do people commit suicide? Why does these patients have neuroses? And this was the model that he arrived at. The model of the ego and the self and the journey from one into the other. In fact, Carl Jung said, the first half of life is spent building identity. The second half of life is the search for meaning. And this kind of mirrors the popular and the high culture forms of storytelling writes, Yeah, because when we're younger, we find these hero's journeys, especially when we're children or teenagers, very appealing because we're going to go out into the world and construct our identity and try and make it into the world. But then when we reach our thirties and forties and we had into the second half of life, hopefully we build try density and now we're looking for meanings beyond the identity. And we may even be looking to deconstructs the identity. We're drawn to more sophisticated kinds of storytelling. 4. Jungian psychology: And this is why I want spend most of the workshop getting into the technique of archetypal storytelling. Because if we have this idea from Carl Young, the ego and self, it also implies the idea is that he explored later in his career of archetypes. And this is what we introduced by looking Blade Runner 2049, which is an allegorical story about the union archetypes and the journey of self-actualization, overcoming our ego and contacting our self. And we make that journey by exploring the archetypes. To find these ideas, Carl Young grabbed a lot of stories. He understood a lot about myth and storytelling. So these are actually ideas he took from story. And for mythic storytelling and applied in the world as a model of psychology. Hence, if you're a storyteller, This is a really useful model to learn. Think about something that we talked about in the introductory talk relating to blade on a 2049. That stories have a surface level, surface level and they have an archetypical level beneath the surface. What might you say about this? Let's look at a story. I'd like to take these story examples at random and just to think of them on the spot, because that really illustrates how universal these fangs are. You can find them in almost all stories. That's fingered the movie Jaws directed by Steven Spielberg. Jaws. It's a small American beach town amateur Seville. And there's a shock. And there's a man who spaced in the shock and he has to go out and hunt the shock. That's the surface level. What's the archetypal level? The archetypal level is a hero, an ego, a persona who is facing the shadow, the worst manifestation of evil that we can imagine a predatory shark. And he's going out. The persona Ego is going out and facing down the shadow, hunting the shadow and destroying up. And if you look at hundreds, thousands of stories from the epic tale of Beowulf. Beowulf, the warrior faces the troll like Monster that I've forgotten the name of, which is a lot like Jaws. And this is 1600 years before jaws has written. The Beowulf was composed roughly 600 years. Be able with experts out there can please correct me if I'm wrong on that. But the same archetypes reappear. Now you can have a long discussion about why the archetypes repair. Here's a simple idea about archetypes. Those of you who have followed my course, rhetoric of story would have heard this from me already in the section on the other, or in dealing with character relationships. Here's the simplest way to think about Young's archetypes. And imagine the sea coming in to the shore. What does the sea do? It forms waves. Wherever water meets the land, you get waves because the forces of the water meeting the land create waves in the water. Wherever you got a repetition of forces, you get archetypal patterns. So wherever you get people, wherever you get human beings living together, going through life together, you get these archetype poll, human patterns of behavior. And that's all the archetypes are very simple. But of course, if you're telling stories, you want to dig down to these archetypes again and again and again, because this is really meaningful to us as humans, we want to understand the deep patterns, eval behavior. It's why we love stories. And this is what makes archetype is storytelling such a powerful technique that you don't just work on the surface level, you're working on the archetypal level beneath it. Why do we repeat these archetypes? This was Carl Jung's idea that we face an existential question, just existing as human beings. We faced the question of who are we? Who are weighing? In order to relate to other human beings? We have to be somebody. We have to have a name, we have to have a job but trade or profession, you have to have a role that we play in society. And there's humans gathered together. We play out the same archetype or rolls over and over again. And we started playing these out as Neolithic humans living in caves. We were still playing the same role as when we were medieval humans living in villages and farming the lands. And even today as modern humans living in big cities, these same archetypes continue to play out because their answers to the same existential question, who are we? In answer to this question? Carl Young theorize that we make for basic answers and they relate to them. If you Google union archetypes, you will find many, many graphs and I'll bring one up on the screen now as well. You will find many, many charts and patterns looking at different ways of understanding these archetypes. But they all have the same four basic answers to our existential question of who we are. The first answer is that we are the people who give structure to the world. We are the governance, we are the kings, we are the priests, we are the rulers of the world. We give it its shape. We set the laws, we set down the rules. We all do rulers. And this gives you archetypes like the ruler, that King, the artist who tells the stories that define the society. The caregiver who looks after people who instructs the young teacher as a caregiver's kings or rulers. Filmmakers, storytellers are artists. But once you have the rulers, a whole other group of people react against the structure of society. And they look to make an individual impact in society. And they don't care about the rules. In fact, they set out to break the rules. And this gives you people like the adult Laurel, the rebel, who sees or laws and says, No, I'm not doing them. And many people who are very powerful in society have an outlaw mentality, to have a rebel mentality, lookup. Political agitators, revolutionaries, people HOTAIR down the political order and build a new one, or just cause trouble. Maybe these people are the Outlaws. Think about people like scientists. Scientists aren't really concerned with the rules of society, the very extravagant, actually people. They're interested in them finding out the basic laws that govern the whole universe. They don't care about the rules of society. And these people are the magician archetype that constantly trying to learn more and more. So yep, the rule makers and the rural breakers. And then there's a group of people who react against both of these. They don't want to be involved in this power struggle. You can see the wonderful stories arise between the rule makers, the rule-breakers. Think about Robinhood, archetypical outlaw against the Sheriff of Nottingham and King John, the rule makers. Ok. So many stories come from this drama and many people don't want to be in this drama. And so they opt instead for social connection. They build that lives around the people they know and the relationships they can build on being a value to their family and to their friends. And this gives you the archetype. If the every man, the ordinary man, you may think, well, isn't everyone in an ordinary man? No. An ordinary man is a very specific act for a specific archetype to take on. Because you're saying I'm not concerning myself with this power struggle between the rule makers and the rule breakers. I believe in friendship, family. So also gives you the jester, the comedian, and the lover, the person who is entirely invested in building loving relationships with other human beings. And you might think these characters, the good guys, isn't that the best thing to look at social relationships? What if they're disappointed? What if they lose their social relationships? What if the power struggle between the rule makers and the rule-breakers, the governors and their creators stops them getting what they want, then they can be very destructive. They can be the bad guys or the story. And for the people who seek social connection, there's a fourth answer. A group of people who rebel against social connection. They say, no, I want to find paradise. I want to take the spiritual journey. And these are people like Mahatma Gandhi, People who say, we can achieve a utopian society. And in this area have the innocent. The pastor who maintains a complete innocence through society, which might be joan EVOC, for instance, a young Marta in, in history but in Catholic storytelling as well, the Explorer, somebody he's constantly heading out into the world in different ways. That's an overview of these archetypes. As I say, there's so many sources you can turn to to read more about this. But there's such a rich mine for storytelling. Because for any character that you place into your story, there almost certainly gravitating to one of the four poles before answers to the existential question of who we are. And I tried to build an identity. And they're trying to fulfil their archetypical identity and that coming into conflict with people who have chosen different archetypical identities. To people who are focused on their social connection, connecting to others, often hate and despise the people who are on a spiritual journey. And very often these might be people within the same family. We've chosen different archetypal paths for life that lbf, Peru life. Think back, if you will, to the hero's journey that we explored in the last session and the last workshop. And we looked at the way that the hero takes a kind of journey through their entire life, which is all about fulfilling their archetype. So about getting really, really good at his skill. And they go on a journey to get as good at that skill as possible so they're valued by their community. Well, any of the archetypes have their own journey. There's the hero's journey, but there's also the innocence journey, the governor's journey, the explorers journey, the gestures journey, The every man's journey. And the art of the storyteller is to understand the journeys of these different archetype or human paths. And you can spend your whole life as a storyteller just understanding one because they're so rich. If you choose the every man's path in life. Where's that going to take you? We're gonna, we're gonna get on to that. When we look at putting some of these ideas into practice. 5. Writing Challenge - Archetypal Storytelling 2: A very quick topology. I made this in every workshop because of my work as a writer and a teacher, I'm very privileged that I get to live pretty much wherever in the world I want to. And I'm currently living in the countryside in Bali out summoned rice fields near the village of Hubert, which is very lovely place, but there's always a little bit of background noise. Dogs bulking, Coke was crying, motorbikes going past. And currently some building luck in the background as well. So I'm sorry for those, those tiny disturbances behind, hopefully they do not disrupt your learning experience. Every human archetype has its own journey. And on that journey, we meet our inner archetypes. There's two ways of understanding this idea of the archetype. We form from our ego, we form a persona. And this persona we carry into the world. But to fall in that persona, we repress lots of parts of ourselves. Our idea of who we are. Our idea of who we are as a persona. It's very small, but our true self is huge. So to make that persona, we've hidden lots of ourself from ourself. And this is the second part of the idea of the archetypes. It's all the parts of ourself that we've hidden away and we need to go and find them. And what happens in this union psychological model is we project these parts of ourselves out on to other people. In Blade Runner 20149, there's the wonderful metaphor of officer Ks, lover, who is literally a projection. Because the anima, one of these inner archetypes, It's always projected out onto other people. So NR, journey. For our archetype. We meet the id and the superego. We meet the animal or animus. If you are a female archetype, we don't have an animal. You have anonymous, which is the projection of all of the male qualities that you aren't manifesting. They're hiding from yourself, the shadow, all of the parts of ourselves that we think a bad or wrong and we place them into a shadow and we project that onto somebody or sometimes a group of people. The mother and the father. Very often we project the mother and father onto our mother and father. This causes lots of problems because your mother and father are real people. They're not just your archetype or need for a mother or father. And as you get older, you get very disappointed often your parents, because they're just real ordinary, fragile people. There's a lot to learn from these archetypes about life, not just storytelling. The god Oncotype. We will as a persona, find somebody. Some organizations sometime that we treat as a god. We give it our authority, we allow it to shape our, shape our world. And you can probably think about the ways these are manifested in your own life. Very interesting to do such a thing. But we want to look at it in terms of storytelling. And the way we're gonna do that is through a practice exercise. And this practice exercise is, if anything, even a bit more complex than the practices we have done so far, because there's so much debt from richness in archetypal storytelling. So I want to explore creating a story. A story that has one thing on the surface. And he's another archetype valley beneath the surface. Now we did this, a very similar exercise and the last workshop with the hero archetype. And the hero or the warrior archetype tends to very adventurous, action-packed stories. It's why Hollywood likes it. I want to do this instead with the every man archetype. Because this is a very different kind of journey that the every man will take as a character. So every Think about the, every man is a character. How can we understand this archetype really well? The archetype is someone who has rejected the people who make the rules and the people who chase an individual identity that we're all makers, neural breakers. And he or she is focused on their social connection, particularly family and friendships. What kind of person might do this with an ordinary working man? Let's say somebody grows up working class family. It's given the name, let's call this guy Tom. Ordinary name. He's an ordinary guy. And all of his meaning in life comes from this social connection. So what might happen to tell him ordinarily working every man? Well, let's go back to these inner archetypes. How might the id and the superego a pair? So the ID is the party that just wants to survive. So let's say Tom has an elderly mother and she's, she's weak. She needs food, tongs, gotta go to work to look after his mother. And she's constantly demanding that he work harder. So you instantly have a really interesting character relationship. It's not just a mother and a son, is this archetype or relationship between the every man persona and how the edX turns up in his life. Let's make the mother the id and the ego. The ego wants you to socially conform. So the mother is demanding that he works and always criticizing him. Always criticizing poor Tom. For how he dresses, for not having a girlfriend, for not facing improperly to life. Brilliant. You already have the the bones of a relationship there. How words, the anima appear. So Tom's just an ordinary guy. But he's suppressed his female aspects to build. He's very, he's very male personalities, very masculine. Little bit macho. He's peaceful though, doesn't get into fights. That's not an every man kind of thing, getting into fights. But as soon as he meets a young woman, he has some relationship with, he instantly projects. His anima. People do this all the time and he gets married. But then there's a lot of disappointment in the marriage. So he hasn't ex-wife who was his anima figure. And because they were very disappointed in each other, they got divorced. They have children though. And Tom has this relationship where he's he's still thinks that his ex-wife is his anima and he longs for her. But she's a completely different kind of person. She's an entirely different kind of archetype. She is actually the artist archetype. So she got into this marriage young, but she wants to go off and make art and write books. She's a writer. And she feels very critically about Tom because he doesn't have any ambitions of this kind. And their relationship broke down quite quickly. And good back story here. And then later the anima manifest again in tons life when a much younger girlfriend. Why would that happen? Because he's still seeking his anima fantasy. He doesn't realize that he's really looking for the feminine parts of himself. And so when he's about older, when he's in his thirties, he has much younger girlfriend who seems to fulfill his anima are again. But she is again a totally different archetype. She's her own kind of person. She's adjuster. She says jokers just went sky on poverty. Does Tom's younger girlfriend. And Tom tries to go along with that, but he's too old for it. And it's not really his seen as an every man. How about the shadow? How is the shadow archetype going to manifest? In Tom's every man life. With Tom has a brother, very similar age, grew up together. Tons brother isn't the every man. He's the opposite. He's the spiritual seeker. And tons brother who will call Jack. Jack went off traveling the world. Tongue has never left his hometown. Jack Quinn's off traveling the world. It comes back every few years to see Tom and they have an argument because Tom is jealous of all the things that his brother can do as a spiritual seeker, which Tom doesn't fairly can-do because he's living out the every man archetype. Jack, the brother, brothers, uh, very often the shadow. Because they're like the same person, but with different values. In mythic storytelling. The shadow and how about god? How does God a pair? In this, in this archetypal story of small town working class life. Perhaps there is. In Jack's town, they raise a criminal underground. Not, not big time, just the kind of thing you get in small working class like mining towns. There's a bit of a criminal underground and there's a gang boss. And on the side, tom, The every man allows himself to be kind of lured into this world because the boss of that world seems to shape tons reality. When Tom tries to set up a business, he has to pay protection money to these God archetype criminal gang boss would call. We'll call author. It doesn't matter what he's coped. Artie. Okay, so we've done like four of the interop types we could do in the mother and father as well. I don't want to get that and make that confusing because we've used toms mother as the id and the ego. But now what do you do? You have these great character relationships. And now what? Tom the stimuli to integrate them. And this gives you the are, the story arc of an archetypal story for an every man. How does he settle his relationship with his mother? Maybe it's another dies eventually. Maybe she's taken into an old people's home and Tom has to visit and care for her and in caring for her. He understands where her criticisms came from. How does he integrate the anima? Maybe he ends his relationship with his ex-wife. He no longer adores her from a distance. It gets over his infatuation with his younger girlfriend, also anonymous. And he finds someone who is very like him, very similar values. They're good friends and he's no longer projecting his anima. One way that could unfold in like the shadow, what happens with Jacques Brother, Jack's brother who's traveling the world, gets sick and Jack Castle travel and bring him back and then traveling to help his brother. He realizes that his brother is justice conflicted about life as hears. And in fact, his brother wishes that he could be and every man, he doesn't want to be running around the world who wishes he was just home on some level. What happens where the criminal boss? Well, toms and every man, he's not going to fight the criminal boss. But he might very bravely give information to the police that incriminates the gang boss. And then seeing the gang boss taken away. He sees all this person isn't a god, is just a flawed human. I don't need to follow in. And as Tom integrates the inner archetypes, he grows beyond the every man archetype. Maybe he tries being a spiritual seeker instead, maybe he moves over and it becomes a rule Sater, or maybe he becomes a rebel, a rule breaker. This is very often how human lives unfold as we reach the limits of our archetype or journey. Whether we fulfill it or whether we see all his weaknesses. Whenever we begin to come to the end of it, we might look for a new archetype. Differ fell. So when a long life and a full life, we might fulfill many of these archetypes in many different ways. This is archetype of storytelling. Even in a small story of hometown life. Nothing dramatic, nothing epic, nothing sci-fi and fantasy happening. The archetype is still playing out. So this is the practice for this workshop. Do this exercise. Take one of the persona or archetypes and think about how this is going to manifest as a story. And then tell the journey of that archetype and how it meets the inner archetypes. How does it meets an integrate the Inigo, How does it meet and integrate the anima? How does it meet and integrate the shadow? Play around with this? We've gone through this in under 45 minutes. This is a super powerful tool set for writing. Working on the archetype or level, whatever the surface level of your story is. Whether it's, you know, Star Wars in space or small town, working class Britain, or anything in between, or any kind of story you want to tell, whatever the surface level is. You can work with these archetypal tools pulled from the ideas of Karl Young. Thank you for following this session. I do hope it has been useful to you. Do do the practice exercise. Keep watching for the second in my geology of Blade Runner videos, you will have watched Blade Runner 2049 at the beginning of the workshop. And it's also a bonus exploration of the original Blade Runner movie still to come. I do like to throw in this bonus material to the course. The next session, the fifth and final session of this first season of advanced sci-fi and fantasy writing and 21st century mf is going to be on JRR Tolkien and Lord of the Rings. It's gonna be very exciting. And I'm going to be filming at fingers crossed at an actual volcano. Yes. 6. How the original Blade Runner constructs an empathy test...for the audience.: We reached down and you flip the tortoise over on its back. Leon, who make up these? Holden and they write them down for it. Towards lays on its back is belly baking in the hot sun, beating its legs trying to turn itself over. But in Canada, not without, you know. What do you mean I'm not I mean, you're not opening. The science fiction author, Philip kindred Dick beliefs that humans were defined not by our intelligence for our technology, but by ala, empathy. The human capacity for empathy, our ability to place us self into the experience of the other is what makes us truly human. It's all capacity for empathy that makes stories possibles bribing without empathy for its character's story cannot come to life your mother. But as humans, we are also capable of not feeling empathy, who we feel empathy for, and crucially, who we choose to exclude from empathy became the theme K. Dick's novel, Do Androids Dream of Electric Sheep? The novel that became Blade Runner. To tell Android from human, we must have an empathy test. But what if we, the humans fail the test of empathy? He say you get them but I firm it's tied to long word blade or on a constructs, a test of empathy for the audience. The words Blade Runner, someone images of the hard-boiled detective, of the gritty outside a heroin or the character we follow through Blade Runner is no hero. Rick deca is a Slave Hunter. Later on his sci-fi in los setting, it's immaculate Production Designer's cinematography hypnotize us into ignoring the truth before our eyes. The cyber punk future of Los Angeles in 2019 is a world built on slavery. Blade Runner is a representation of an America built on slavery that has returned to slavery. Again, Android's on metaphor for African American slaves. Off wild colonies stand in for American colonies. Every off welder, like the early American colonists, is entitled to own slaves. America's Fez police officers who were explicitly tossed with slave hunting. Other Blade Runner, weedy audience follow Rick deck od is he hunts and kills its victims. The woman is forced to play Medicaid for the city. Then shot in the back by the police officer, becomes a man in despair at the death of his love is set to bring justice to. But kilo, when an innocent saves the Kellen. An innocent girl only a few days old, is coerced, intersects by a police officer in exchange for protection. They billionaire who made his fortune from selling lives into slavery, is finally confronted by the champion of his victims. The five-year-old girl raped repeatedly as a pleasure model is shot through the heart. In her final moments of life. With each abuse and murder we watched without empathy, weedy audience fail. The empathy test. Blade Runner exploits the same floor and human psychology that allows us in reality to watch without empathy, the abuse, eating, in shooting of others. Other ring is the psychological process that allows us to exclude other humans from the circle of our empathy. Humans, a story-driven beings. If we're told the hero of the story is the police officer. We can accept almost any abuse against the criminal. He hunts. If we're told the hero is human, we can watch the murder of the Android. Told the heroes mail. We can watch the abuse of the female. If we're told the hero is white, we will not question the murder of black. If we're told the hero is us, we will watch. We're relief the pain and suffering of the other. All of humankind's worse travesty is were possible only because of othering will. Genocide, systematic rape, and slavery can only exist if we can other the victims. Blade Runner tests our empathy to show how easily we fail the test. And then Blade Runner all possess redemption. And the climax of his story, we watched the Slave Hunter rake decades fest, saved and then redeemed by the Android Roy Batty. I've seen people wouldn't believe attack ships on fire as long. I watched CSI beams. Literally the donkey, 1000 gain, o moment loss, time. Dike. We are showing Roy Batty with a nail for one hand, a dove in the other. To Christian symbols for multiple suffering and transcendent life. Like Blade Runner, the story of the crucifixion of Jesus Christ tests the empathy of its audience. Price has been made. Other people he was born to save. We follow his journey to the cross as he is beaten, tortured, and killed. If we, the audience, have the strength to empathize, to feel Christ's suffering, then we can follow a savior into death and experience Riba and redemption. As we watch ROI, that's 0V it give the man who came to murder him. We have our own chance of redemption. Because it is Roy Batty, who is the hero of Blade Runner. It is Roy Batty who rises up against oppression. It is Roy Batty who he rescues his people from slavery. It is Roy Batty who confronts and throws down his maker. It is Roy Batty who faces and forgives the man who killed his love of existing on the edge of a four-year lifespan, half as long, but twice as bright a life. It is Roy Batty who is the Blade Runner. If we can see the hero in the other. If we can feel for Roy Batty after being given every excuse not to fail. Then with empathy, we can follow his journey into death and glimpse own redemption. Android's live brief lives filled with suffering and pain built on memories that will be lost in time, like tias in rain. And so as humans do we. As Rick decade watches ROI data, he's deaf. He sees the humanity in the Android touches his self. In the other, finds empathy for the being. He came to murder. And he finds his own redemption. Ductile. It is no human relationships like a wheel Android's. His few memories are based on old photographs. His hard boiled and la persona is to kind of full-size identity. An Android would be given D office where a decade is brief, seems to be a set on a sound stage. The inspector who briefs him, a bat cliched actor. The Android being tested in the Office of its creator is nothing. Rachel, who fails the test, a deco, tosses. How many questions does it usually take? Spot, decade is followed on every step of its path by another detective. Because in Android that completes its mission must then itself. He retired. When not Detective chooses to let decade and Rachel run an act of empathy. The origami Unicode he leaves at the dual. Mary's decades repeating memory indicating that decades memories like right trolls or implants is decadent Android. The points are blamed on his most famous mystery is that it doesn't match a weather. Deca is an Android or human. He will live and then die. All that matters is what he does with the time in between. Decca confined empathy for the other. And with it is own redemption. Or we can live in fear as a slave. Quite an experience to live in fears. And that's what it is to be a slavery or freedom, suffering or redemption, fear, or empathy. These are the choices that face the characters in Blade Runner. Owl choice as humans is nothing less. Hollywood is made. Thousands of sci-fi movies, most have been lost in time. Ridley Scott's masterpiece has only grown greater with time. But the scene that makes blade on a transcendent was neither in you Philip K. Dick's original novel or in the screenplay by Hamsun venture and David people's. Instead, it was improvised on set by the actor word gala. Like so many timeless myths in the myth of Christ that inspired it, Blade Runner was not the creation of any one storyteller. Instead, it emerged from many imaginations to speak to the imagination and all of us. If you yarn to write mythic stories that move the soul as Blade Runner does, join writing the 21st century myth, the advanced course in sci-fi and fantasy storytelling.