Last Name 6 Works Cited “The Arabian Nights Entertainments.” ​The Project Gutenberg E-Text of The Arabian Nights Entertainments, by Andrew Lang​, Project Gutenberg, 2008, www.gutenberg.org/files/128/128-h/128-h.htm. ​Accessed 6 Sept. 2020. “The Hero's Journey Examples: Stages of the Monomyth Cycle.” StoryboardThat​, StoryboardThat, 2020, www.storyboardthat.com/articles/e/heroic-journey. “Hero's Journey 101: Definition and Step-by-Step Guide (With Checklist!).” Reedsy​, Reedsy, 24 Aug. 2020, blog.reedsy.com/heros-journey/. “Legends of The Arabian Nights.” ​Films On Demand,​ Films Media Group, 1997,fod.infobase.com/PortalPlaylists.aspx?wID=105140&xtid=45465. Accessed 6 Sept. 2020. “The Mythology of Star Wars with George Lucas and Bill Moyers.” ​Films On Demand,​ Films Media Group, 1999, fod.infobase.com/PortalPlaylists. aspx?wID =105140&xtid=9102. Accessed 6 Sept. 2020. “Myths and Monsters: Joseph Campbell and the Hero's Journey.” ​Google Search​, Google, 25 Jan. 2018, www.google.com/search?q=netflix's myths. Last Name 6 Sims, Josh. “Will Coronavirus Change How We Define Heroes?” ​BBC Worklife​, BBC, 23 Apr. 2020, ​www.bbc.com/worklife/article/ 20200422- will-coronavirus-change-how-we-define-heroe​s. ​Accessed 6 Sept. 2020. Singer, Isaac Bashevis. “Zlateh the Goat.” ​Stories for Children.​ MacMillan, 1984, New York. Stern, Stephen L.​ Beowulf The Graphic Novel.​ Markosia, 2007. Do not include this box or the material in this box in your essay. Remember that the Works Cited page is an integral part of your essay. Trying to read an essay with sources, but without the Works Cited page, is like trying to read an essay without vowels. Without the Works Cited page, the rest of it can’t be properly read, and it would be considered plagiarism; therefore, the Works Cited page is numbered as the next page in the document. If you have written 5 pages, the Works Cited page will be page 6. You can get your word processing software to do this for you. ● To create your Header if you are working in GoogleDocs: ○ go to ​Insert​, and then click on ​Headers & Footers,​ and then ​Header​. ○ Once you are there, click on the align right lines and type in your last name. ○ While still in the Header, go to ​Insert,​ then ​Page Numbers​, and then click on the document showing the page number in the upper right hand corner. It will look like this: This will paginate your whole document. Student 1 Student Name Instructor’s Name English 124 Due Date A New Hope with an Old-Time Hero: Star Wars and Joseph Campbell’s Hero’s Journey In French it is “il était une fois,” and in Arabic it is “‫كان يا ما كان‬.” In Spanish, one might Comment [1]: Note the clever two-part title. When a title has two parts, place a colon between the parts and use two lines instead of one. say, “Érase una vez” while in English the usual phrase is “once upon a time.” Curiously, most languages worldwide have fixed expressions such as these to signal the beginning of folk tales and myths. Other storytelling conventions and patterns, such as plot and character archetypes, also tend to exist across languages and cultures, as noted by twentieth-century American mythologist Joseph Campbell. One story pattern in particular, Campbell observed, has nearly universal representation: the Hero’s Journey. In his highly popular and seminal book The Hero Comment [2]: Note the hook that captures the reader's attention and effortlessly guides the reader to background information about Joseph Campbell and the Hero's Journey. With A Thousand Faces, Campbell explains that the Hero’s Journey is a common multi-staged arc of departure, initiation, and return found in most hero narratives worldwide (“Hero’s Journey 101”). His insights profoundly shaped the imaginations of storytellers and audiences alike and helped to bring this story pattern permanently into film. Significantly, his book inspired director and screenwriter George Lucas to create one of the most iconic heroes of the twentieth century: Luke Skywalker. In Lucas’ first film Star Wars: A New Hope, Luke Skywalker embodies the archetypal hero described by Campbell, and while Star Wars was indeed an innovative film at its time, its protagonist follows a journey that, Campbell argues, is as old as time. Commonly, hero tales begin with the unsuspecting protagonist living in an Ordinary World where they receive, and then typically resist, a Call to Adventure (“Hero’s Journey 101”). Comment [3]: Note the clear thesis that draws the reader's attention to the main idea of the essay: Luke Skywalker embodies the archetypal hero that follows the Hero's Journey. Student 2 Closely following this pattern, Luke’s journey begins against the backdrop of his family’s dusty moisture farm on the desert planet Tatooine. In all directions the scenery is an unstriking beige, and Luke’s future appears similarly bland and bleak. He is the nephew of humble farmers, and while he may hold dazzling dreams of adventure in far away galaxies, Luke’s immediate Comment [5]: In this sentence, the student links the Call to Adventure to Luke's story in Star Wars. Then the student describes the beginning of Luke's story with details and carefully chosen diction, such as "confidential and cryptic." responsibilities lie with his family and, consequently, their farm. This Ordinary World is disrupted, however, when he accidentally discovers a secret message from the captured princess of a faraway planet. This confidential and cryptic message leads him to Obi-Wan Kenobi, a former Jedi warrior, who calls Luke on a journey to help the Rebel Alliance with which the princess is affiliated. Luke, perfectly in step with the Hero’s Journey, is reluctant and resists ObiWan’s call. While he admits that he hates the empire who is holding the princess hostage, he protests to Obi-Wan, “There’s nothing I can do about it right now!” (Lucas). Despite these Comment [6]: Here the student links Luke's story back to the Call to Adventure, and continues to do so with references to "Status Quo," "Cross[ing] the Threshold," and "embark[ing] on an adventure." reasonable protestations, a family tragedy destroys Luke’s status quo, prompting him to cross the threshold and embark on an adventure with Obi-Wan. After accepting the call, Luke’s journey continues along the hero’s path, bringing him to a phase of initiation that includes training, trials, and a transformation. First, the young farmerturned-rebel-fighter enters a period of preparation in which he is mentored by Obi-Wan who Comment [7]: Note the helpful transitional phrase that begins this clear topic sentence guiding the reader's attention to the next step of Luke's Hero's Journey: the "phase of Initiation that includes training, trials, and a transformation." illuminates the powers of the Force and teaches him the ancient Jedi arts. A Jedi knight himself with decades of experience fighting evil, Obi-Wan knows the challenges that lie ahead for Luke and seeks to prepare him physically and mentally. In these ways, Obi-Wan fills the role of a Mentor who provides “practical training, profound wisdom, a kick up the posterior… and selfconfidence” (“Hero’s Journey 101”). This training proves to be invaluable to Luke as he enters numerous trials and ordeals. The young hero’s troubles begin when the ship carrying him and his companions are pulled by a tractor beam into the Death Star, a massive, menacing space station Comment [8]: Note the student's introduction to a new term (Mentor) and how she provides a quoted definition with a parenthetical citation in proper MLA format. When an author is anonymous, we cite the title of the article in parentheses. Student 3 on which the princess is held captive. Once on board the Death Star, Luke must utilize all of his wit, determination, and newly learned skills as he avoids detection, fights off enemy storm troopers, battles a trash compactor, and eventually finds the princess. Through these trials, Luke experiences the transformation expected of every hero. He pushes past fears and tribulations, avenges his mentor’s death, saves the princess, and triumphantly restores her to safety. Having been initiated by fire, Luke is now truly heroic. Comment [9]: Here the student points out Luke's transformation into a hero and follows up with detailed examples of his trials to illustrate her point. Although he is successful in overcoming these trials, Luke’s journey is far from over as he must still make the perilous Return to the Ordinary World. The first stage in his return is what Campbell refers to as the “Road Back.” For most heroes, this is the point in their journey when they “must deal with the consequences and aftermath of [their] previous act” (“The Hero’s Journey 101”). For Luke, this final challenge is to launch a deadly attack against the Death Star which, with its planet-destroying superblaster, was the terror of all near and far. Using stolen information about the Death Star’s structural weakness, Luke and other Rebel fighters instigate a space battle that is costly and close. They are outnumbered and overpowered, but Luke and his companions are able to outwit their enemies and strike a death blow to the space station, restoring temporary peace to the galaxy. Upon his triumphant return to the Rebel base, Luke is greeted with laud and applause for his critical involvement in and leadership of this successful mission. The ending scene in the film depicts the princess awarding Luke with a ceremonial medal for his heroism and contribution to the Rebel cause. Standing tall and proud in his formal regalia, Luke flashes a smile to the crowd before him as they applaud and cheer for their hero. With his film, Star Wars: A New Hope, scriptwriter and director George Lucas captured the imaginations of moviegoers with innovative worldbuilding, costuming, and special effects. Indeed, his film was novel in significant ways. But for many viewers, Star Wars’ success and Comment [10]: Note this sophisticated transition in which the student reminds the reader of Luke's success in overcoming the previously explained trials and then guides the reader to the next main point: Luke's Return to the Ordinary World. Also note that the student identifies the "first stage of his return" as the "Road Back," and then explains what it is, once again providing a quoted passage and documenting it using MLA format. Afterwards, she describes a scene from the film to illustrate Luke's Road Back. Student 4 long-standing appeal is due to the way it pairs novelty with familiarity. The world of Star Wars was fresh and thrilling at the time of its release, but the driving force of the film, the Hero’s Journey, was also a familiar and beloved story pattern. In reality, Luke Skywalker was just another hero on a journey. He received a call that he initially refused, was initiated through training and trials, and restored peace after winning a final victory. The pattern is not new. And audiences loved it. Star Wars’ legacy reveals that, as highly valued as creativity is in storytelling, form and familiarity can often be equally as important. Comment [11]: In the conclusion, the student reconnects the Hero's Journey to the story of Luke in the film, and she leaves the reader thinking about how the film, though creative and imaginative, follows the age-old format of the Hero's Journey. Comment [12]: Note the Works Cited page below--at the top of page 5 Student 5 Works Cited “Hero's Journey 101: Definition and Step-by-Step Guide (With Checklist!).” Reedsy, 20 July 2018, blog.reedsy.com/heros-journey/. Lucas, George, director. Star Wars Episode IV: A New Hope. Twentieth Century Fox, 1977. ORIGINAL GRAPHIC NOVEL THE GRAPHIC NOVEL T UFSO
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4UVEBCBL F S Carlos Barrera (order #4973052) 7 THE GRAPHIC NOVEL Carlos Barrera (order #4973052) 71.2 THE GRAPHIC NOVEL Writer Stephen L. Stern Artist Christopher Steininger Letterer Chris Studabaker Cover Christopher Steininger For MARKOSIA ENTERPRISES, Ltd. Harry Markos Publisher & Managing Partner Chuck Satterlee Director of Operations Brian Augustyn Editor-In-Chief Tony Lee Group Editor Thomas Mauer Graphic Design & Pre-Press Beowulf: The Graphic Novel created by Stephen L. Stern & Christopher Steininger, based on the translation of the classic poem by Francis Gummere Beowulf: The Graphic Novel. TM & © 2007 Markosia and Stephen L. Stern. All Rights Reserved. Reproduction of any part of this work by any means without the written permission of the publisher is expressly forbidden. Published by Markosia Enterprises, Ltd. Unit A10, Caxton Point, Caxton Way, Stevenage, UK. FIRST PRINTING, October 2007. Harry Markos, Director. Brian Augustyn, EiC. Printed in the EU. Carlos Barrera (order #4973052) 71.2 Beowulf: The Graphic Novel An Introduction by Stephen L. Stern Writing Beowulf: The Graphic Novel has been one of the most fulfilling experiences of my career. I was captivated by the poem when I first read it decades ago. The translation was by Francis Gummere, and it was a truly masterful work, retaining all of the spirit that the anonymous author (or authors) invested in it while making it accessible to modern readers. “Modern” is, of course, a relative term. The Gummere translation was published in 1910. Yet it held up wonderfully, and over 60 years later, when I came upon it, my imagination was captivated by its powerful descriptions of life in a distant place and time. To be sure, there were other translations over the years, but it wasn’t until 1999, and the landmark “interpretation” by Nobel laureate Seamus Heaney, that I was once again reminded of just how timeless and epic a poem Beowulf was. Heaney’s work was, indeed, the inspiration for this Graphic Novel. What many readers encountering Beowulf for the first time are surprised to learn is that, although a work of fiction, the poem incorporates a number of historic events and figures. Many of the characters are also mentioned in early Scandinavian sources, and events such as King Hygelac’s raid into Frisia are referenced. As a result of careful study, including that of archeological excavations, scholars have concluded that much of the story is based in the factual history of Denmark and southern Sweden, during the period between 450 and 600 AD. The manuscript itself is believed to have been written by one or more authors, probably around the year 1000. The latest scholarship theorizes that a Christian scribe probably was the last to copy the text, influencing this bloody tale of paganism, monsters and vengeance with his own sensibilities. Which brings us to no less an Old English scholar than J.R.R. Tolkien whose 1936 lecture entitled “Beowulf: the monsters and the critics” has arguably done more for establishing Beowulf as a literary masterwork than all of the criticism that has come before or since. Before Tolkien, the work was looked upon as an interesting, but certainly incidental, vestige of early literature; after Tolkien, it had earned its place alongside the greatest of the Latin and Greek heroic epics. Tolkien paid perhaps his greatest tribute to Beowulf by setting his own heroic tales that have captured the imagination of countless millions in the land known as Middle Earth. For it is indeed in Beowulf that Middle Earth makes its first appearance in all of literature. To quote Tolkien: “Middle Earth came from Midgard which was the common English transliteration of Old Norse Miogzror… Middangeard (Old English), and Mittilagart Carlos Barrera (order #4973052) 71.2 (Old High German)…and as a result, is an old Germanic name for our world, the places inhabited by men, with the literal meaning ‘middle enclosure.’” Simply put, Midgard—the realm of the humans in Norse mythology— is mentioned no less than six times in the epic poem that Tolkien so assiduously studied and was so obviously influenced by, not only in terms of his settings, but in terms of the archetypes he would employ. It can confidently be said that, without Beowulf, there would be no Lord of the Rings. And it is just as true to say that Beowulf was the first true champion of Middle Earth. In creating this adaptation, artist Christopher Steininger and I have attempted to remain as faithful as possible to the original as the graphic novel form allows. But as in any retelling of an old myth, the key is to be rewarded with the discovery that its meaning is still very much alive today. If you are encountering Beowulf here in these pages for the first time, I hope it will inspire you, as it did me. —Stephen L. Stern London, September 2007 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Carlos Barrera (order #4973052) 71.2 Creator Biographies Stephen L. Stern Stephen L. Stern is the writer/creator of the independent comic Zen Intergalactic Ninja, which has sold over 3 million copies and been licensed for everything from video games to action figures. He is also the author of the War of the Worlds and Shy Girl graphic novels, as well as the official comicbook adaptation of the animated TV classic Mr. Magoo’s Christmas Carol. His stories have been illustrated by such luminaries as Michael William Kaluta and Jeffrey Jones. His upcoming projects include Majestic Comics and Wonder Man. www.stephensternblog.blogspot.com Christopher Steininger Christopher Steininger’s comic credits include the critically acclaimed The White Elephant (Alternative Comics), the upcoming Kill the Revisionist! (Ape Entertainment) and Windows, a graphic novel collaboration with performance artist Joe Frank. When he isn’t drawing comics, he’s working in various creative capacities in the film/animation industry while actively painting and exhibiting his art. Christopher currently lives on Cape Breton Island. www.christophersteininger.com Chris Studabaker Chris Studabaker is a letterer and writer working in Indianapolis, Indiana. Having lettered for a variety of publishers, he currently works as Production Manager and Letterer for Bluewater Productions. He has recently been excited to letter Bluewater’s entire Ray Harryhausen Presents line of comics. www.chrisstudabaker.com Carlos Barrera (order #4973052) 71.2 MA R KO S I A’ S TRADE PAPERBACK PROGRAM Carlos Barrera (order #4973052) 71.2 IN FINER COMIC SHOPS AND BOOKSTORES EVERYWHERE Carlos Barrera (order #4973052) 71.2 THE GRAPHIC NOVEL BeforeTheLordoftheRingsandConantheBarbarian,therewasBeowulf, theepictaleoftheworld’sfirstandgreatestsword-and-sorceryhero. Inspired by Seamus Heaney’s landmark translation of the longest-surviving Anglo-Saxon poem, Beowulf: The Graphic Novel brings the classic legend to cinematic life for contemporary readers. Written by Stephen L. Stern (Zen: Intergalactic Ninja, War of the Worlds) with art by Christopher Steininger (Kill the Revisionist, The White Elephant), Beowulf: The Graphic Novel is the story of the fearless Norse hero who defeats both the man-ogre Grendel and his avenging mother, only to meet his fate in combat with a fire-breathing dragon. This masterful adaptation captures the mythic time in which man and supernatural forces co-existed, and celebrates the endurance of the human spirit in an ever-changing, often dangerous world. D I R E C T $8.95 USD Carlos Barrera (order #4973052) E D I T O N £4.95 7 
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