Campbell

Joseph Campbell spent a lot of his time studying myths, legends, and hero stories, and finding the similarities and differences between them. He found that most myths follow a common structure, which he called the Monomyth or the Hero’s Journey. It is a specific kind of story and therefore more specific than McKee’s story description. Because many games put the player in the role of a hero, this is obviously useful to know.

The Hero’s Journey goes something like this:

The hero starts off a commoner in a common world, and this “normal” world is established.
The hero receives a call to adventure.
The hero may decide to follow the call, or to ignore it. In the latter case, new events then force the hero to follow the call anyway.
The hero starts their journey and encounters the first barrier. There is often a guardian that must be overcome to proceed.
The hero then moves through the barrier into a new, darker world. They follow a trail of trials, each more difficult than the last. Along the way, the hero grows – not just in the “experience points” and “levels” sense, but in the “coming of age” sense. The hero becomes a better person. They become, well, a real hero.
Eventually, the hero encounters the final evil, and is able to overcome it.
The hero claims the prize.
The hero starts returning to their world. Along the way they encounter the final barrier.
Finally, the hero returns to their common world. The world may be the same, but the hero has changed.

You may recognize this structure in many hero stories, and Campbell’s book goes into detail about why each of these things happens, what it symbolizes, and what it says about our values as a society. In short, hero stories are about what a particular culture sees as the ideal set of ethics and values, and the hero character embodies and demonstrates these things.

Now, you might be tempted to use this as a formula. Get a list of archetypes with a checkbox next to each, and presto, you now have a suitable story! Unfortunately, it’s not that easy. As McKee says, stories (and hero stories are included in this) are not about formulas, but forms. The purpose here is not to follow the Monomyth blindly.

What use is it, then, if we cannot use this to make a story? I think the most important thing to take from this is to be aware of what the common story forms are, so that you call follow each step or not as appropriate to your own story. But, it is important to do so deliberatelyand not just “because Campbell said so.” Note that not all games follow this structure – especially games where you play an anti-hero.

Bob Bates comments on the structure in his article:

When writing, start with a core premise or vision first. Choose a hero and villain that embody your premise.
Show the hero’s common world, then disrupt that world through an inciting incident. This is typically what happens at the beginning of a game.
Enter the “woods” – the game itself.
“Encountering the evil” is essentially a description of a boss fight – suggesting why we see so many boss fights in games!
“Claiming the prize” can be thought of as the hero realizing the Premise of your story. It does not have to be finding a literal “prize” like a bag of gold or a princess or an ancient magical artifact.
During the game, the hero character should grow. Again, it is easy for us as designers to fall into the trap of only having the main character “grow” in terms of power level (and it is convenient that the player is growing in their skill at the game as they play). Still, it can often make a better story if the hero’s character grows during the story as well. They don’t have to start out as a god. It can be more interesting if they start out as a peasant and become a god. Remember, it’s the hero that must grow, not just the player.