Construction of Heroes in Guardians of the Galaxy (2014)

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Construction of Heroes in Guardians of The Galaxy (2014)

William Kristanto English Language and Literature Universitas Pendidikan Indonesia [email protected]

ABSTRACT Guardians of the Galaxy (2014) directed by James Gunn presents a set of heroes that are different from the majorities of the other heroes, especially in terms of how they develop into heroes. The study examines the hero construction in Guardians of the Galaxy by using Campbell’s (2004) theory of hero construction as the theoretical guidelines. The qualitative method is used in this study to gain a deeper understanding of the construction. The findings show that the heroes are constructed in ways similar to the stages in Campbell’s theoretical proposition. The constructions are also very much influenced by external factors that the heroes meet. From the construction, the heroes in Guardians of the Galaxy are shown to develop from characters devoid of moral values, instead of characters with noble morals as frequently shown by the majorities of the other heroes. The heroes in Guardians of the Galaxy are also portrayed to have more human qualities in their construction which makes them more rounded.

Keywords: hero, hero journey, hero construction, hero construction stages

William Kristanto Construction of Heroes in Guardians of The Galaxy (2014)

INTRODUCTION heroism in Guardians of the Galaxy In the past years, there have been a lot of (2014). One of them is Jake Casale’s superhero films produced, especially by (2014) “Heroism, Realism, and Marvel Studios and DC. When we hear Transformation in Guardians of the the word ‘hero’, generally people will Galaxy” where he states that the heroes think of someone with a very good from Guardians of the Galaxy are the attitude and a very good sense of justice. opposite of the grandiosity, self- S/he is also someone who is willing to seriousness, and epic sheen that can be help people and to sacrifice seen from the Avengers. Another study himself/herself for greater good. Often by John McAteer’s (2015) “The Gospel times, this someone is also a patriot, According to Marvel” that, instead of along with many other good qualities focusing solely on Guardians of the (i.e., bravery, honesty, selflessness, etc.). Galaxy (2014), he discusses Marvel’s We can see many heroes in a lot of heroism in general as the publisher of movies that possess those good qualities. Guardians of the Galaxy (2014). However, looking at the group of misfits McAteer says that Marvel has an idea of in Guardians of the Galaxy (2014), it heroism where an ordinary person with causes people to question: do heroes need unique abilities and struggles who tries to to be necessarily good natured and have overcome his/her personal weaknesses good qualities? Guardians of the Galaxy and use those abilities to be a better consists of criminals or outlaws that lack person than they thought they could be. the qualities of being a hero. However, in McAteer added that Marvel considers a spite of their lack of good qualities, they hero as someone who shares Spider- are still considered as heroes because Man’s motto: “With great power comes they are labeled the Marvel Heroes. This great responsibility”. The heroes may is especially so in their film, Guardians of actually feel that they may not be that the Galaxy (Gunn, 2014), where they heroic, and they may also feel that the save a city from the villain’s attack and power that they have is more of a curse save many lives in the process. than a gift; however, they do their best in There are several studies that have using their power for good. However, been conducted regarding the issue of there has yet been many studies

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conducted regarding the construction of In the middle of 20th century, hero is the hero itself in the film Guardians of the created to be an example or a role model Galaxy (Gunn, 2014). for the people. As what Boberg (1960) So what is the indicator for a states that “the hero is a champion of character to be considered as a hero? society's code. The hero personifies the How are the heroes constructed? What values, ideas and norms of a group or meaning can be made from the society” (p. 412). Because of that, the construction? In order to analyze how heroes in the past were portrayed to have heroes are constructed, this study uses good qualities in them such as having Guardians of the Galaxy (Gunn, 2014) as good moral values, strength, and bravery the subject of the study to determine how thus the films about hero in the past may the heroes are constructed and actually be made to give an example of Campbell’s (2004) theory of hero good characters. As Quoted by Trahair construction as a theory that covers (1974), Rank says that “We feel justified stages in hero’s journey to answer the in analogizing the ego of the child with following questions: the hero of the myth, in view of the 1. How are the heroes constructed in unanimous tendency of family romances Guardian of the Galaxy (2014)? and hero myths; the ego of the child 2. What meanings can be made from the behaves like the hero of the myth” (p. hero construction of the Guardian of 160). the Galaxy (2014)? However, the heroes nowadays have undergone some changes. Different THEORETICAL FRAMEWORKS from the traditional hero that possess Hero great moral values, there are several The mass productions of superheroes kinds of heroes that exist nowadays, for films nowadays make the word ‘hero’ instance anti-hero. Anti-hero, as the often heard. However, it has always been name suggests, is a quite different kind of difficult to exactly define just what a hero hero from the traditional hero if not the is. Actually, the concept of hero has opposite. It is difficult to define an anti- existed way in the past in the Greek hero, as what Boberg (1960) says that, it mythology, such as the story of Hercules. is not easy to define the thing that has

William Kristanto Construction of Heroes in Guardians of The Galaxy (2014)

replaced the traditional hero as the anti- supernatural professionals, and hero reflects the modern alienation that individuals who are neither are not failing possesses the opposite set of attitudes and to live their lives to the fullest, or to actions which reflect the feeling of both contribute as fully as they could to the exile and rebel. common good. There exists something in It becomes quite unclear whether a between that is not simply a degenerate hero needs to have all the good quality in version of either, but has its own himself/herself, or it does not matter what idealized version” (p.204). The unique quality s/he has, as long as s/he do thing is, in real life, as what Cherry something that can save other people, or (2016) says, people often claim that they what people usually call as heroic act or do not see themselves as heroes after they heroism. Because of the kind of heroes take heroic actions, that they are only that exist nowadays, such as the anti- doing what anyone would have done in hero, the later definition may also be able that situation. People often initiate to take to be defined as hero. According to Wei action due to the situation when they & Xu (2012), “hero and heroine came to have to face immediate life and death refer to characters who, in the face of situations. Cherry’s (2016) statement danger and adversity or from a position further shows that heroes will act of weakness, displayed courage and the depending on the situation that demands will for self sacrifice” (p. 1458-1459). them to take heroic action. However, the Based on the previous definition of occurrence of that kind of situation is hero, heroes do not necessarily have to be rare. Cherry’s (2016) statement also all-time heroes, sometimes the heroic indicates that an individual might acts that they did are spontaneous. In naturally have the sense to be a hero addition, from Wei & Xu’s (2012) because of a trigger of a dangerous definition of hero, heroes do not actually immediate situation. face danger and adversity all the time. Therefore, heroes will not show their Hero Construction courage and their will for self-sacrifice all Campbell (2004) divides the hero’s the time. Acu (2016) states that “Heroes journey into several stages. Each stage need not be enthusiastic amateurs or contains its own sub-stages that cover the

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construction of hero in quite detailed the point of no return when s/he decides events that usually happen in a hero’s to go on a journey; and (5) "The Belly of journey. Campbell (2004) divides the the Whale" or the passage into the realm construction into three main stages: (1) of night, where the hero faces danger or the stage of departure, (2) the stage of caught in a dangerous zone. initiation, and (3) the stage of return. Campbell (2004) mentioned that the These stages are elaborated in the stage of initiation is divided into six sub- following sub-sections. stages, which are: (1) "The Road of As previously mentioned, each of Trials" or the dangerous aspect of the the stage contains its own sub-stages. gods, where the hero faces trials in his/her Campbell (2004) divides the stage of journey that help him/her to grow into a departure into five sub-stages, which are: better version of him/herself; (2) "The (1) "The Call to Adventure" or the signs Meeting with the Goddess" or the bliss of of the vocation of the hero, where the infancy regained, where the hero may hero gets a calling for him/her to undergo meet a female figure that the hero may be a journey, the calling might be in the interested or grow a bond with that form of information or problem; (2) female figure; (3) "Woman as the "Refusal of the Call" or the folly of the Temptress" the realization and agony of flight from the god, where the hero, after Oedipus, where the hero in his/her receiving the calling, may hesitate to go journey may encounter a temptation. on the journey due to being afraid to This temptation may cause the hero to leave the comfort of his/her normal life; stray from his/her journey in becoming a (3) "Supernatural Aid" the unsuspected hero; (4) "Atonement with the Father", assistance that comes to one who has where the hero may meet with a father undertaken his proper adventure, where figure that the hero may need to gain his some help is received by the hero. The approval. The hero may have a difficult help may be in the form of information relationship with this father figure that or weapons. This help may help the must be reconcile; (5) "Apotheosis", hero to be stronger or wiser to face where the hero has passed many trials in his/her journey; (4) "The Crossing of the his/her journey, thus growing into a first Threshold", where the hero reaches better being. Sometimes it is symbolized

William Kristanto Construction of Heroes in Guardians of The Galaxy (2014)

by a change in his/her appearance; and outside world and managed to return to (6) "The Ultimate Boon”, where the hero his original world, the hero finally is able finally achieves his/her goal of the to come back and forth in both worlds; journey. The goal might be in the form of and (6) "Freedom to Live" the nature and defeating his/her enemy or the thing that function of the ultimate boon”, where the is gained through the fight with the hero is finally free to live the life as villain. s/he wants. Campbell (2004) also divides the A lot of stages are covered in stage of return into six sub-stages, which Campbell’s theory of hero construction are: (1) "Refusal of the Return" or the that often times can be found in a hero’s world denied, where the hero may feel story. However, it does not mean that the reluctant to go back to his/her previous heroes will always experience every life after reaching his/her ultimate goal single sub-stages that are formulated by due to the normal life s/he had; (2)"The Campbell. In addition, Campbell’s Magic Flight" or the escape of (2004) theory of hero construction in film Prometheus, where the hero finally goes can be seen through film techniques such back to where s/he is from. The hero may as camera shots and angle. The bring a reward from his journey with techniques of film that are used in this him, however, the hero may be pursued; study are further elaborated in the next (3) "Rescue from Without", where the section. hero may receive help from an unexpected source in returning to Camera Shots and Angles where s/he is originally from; (4) "The The present study only discusses shots Crossing of the Return Threshold" or the and angle from the photography theory return to the world of common day, based on consideration that the present where the hero may finally reach the study focuses on character development. place where s/he is originally from. In Camera shots and angles are used in this returning to that place, the hero may study because there often are meanings have to face one last challenge; (5) behind the position and the distance of "Master of the Two Worlds", where the shot taken, usually the meanings are having completed his/her journey in the able to show the conflict in the story and

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the interaction between the characters. determined by the position of the camera The meanings can be helpful in towards the subject. The camera angles determining the stage that heroes are in, are used to let the audiences know how and also in observing the characters’ the subject is viewed in the film. As interaction. Giannetti (2008) states that the angle in Camera shots are one of the film photographing an object can serve to technique that deals with the framing of show the director’s intended view on the the subject, making it seems as if there subject. He also adds that a slight angle are certain ‘distance’ from the characters might serve as a subtle form of emotional to the camera. The perspective of the coloration. While an extreme angle ‘distance’ is usually determined by the might represent the major meaning of an amount of the subject viewed within the image. The angle is defined by the frame. As what Giannetti (2008) states position of the camera, not the subject where the shots are defined by the photographed. Giannetti (2008) further amount of subject that’s framed within states that a similar subject can suggest a the screen. However, in actual practice, different interpretation if taken from shot designations are considerably vary. different angle. Giannetti (2008) In general, shots are determined on how categorizes the angles into five; the much of the human figure is viewed in bird’s-eye view, the high angle, the eye- the frame. The shot is not necessarily level angle shot, the low angle, and the defined by how far the camera is from the oblique angle. object due to the fact that in some instances certain lenses distort distances. RESEARCH METHODOLOGY Giannetti (2008) divides the shots into This study uses descriptive analysis that five types which are: extreme close-up is qualitative in nature. This study shot, close-up shot, medium shot, long explores the heroes’ construction on each shot and extreme long shot. of the heroes in Guardians of the Galaxy Different from the camera shots, the (2014) and explores the meaning behind camera angles do not create a sense of the construction of each of the heroes. ‘distance’ between the camera and the The heroes in Guardians of the Galaxy subject. The camera angles are (2014) is chosen as the subject of this

William Kristanto Construction of Heroes in Guardians of The Galaxy (2014)

study because the characters show a hero of each of the heroes. The data are different kind of hero from the majority then described and analyzed with of other heroes. The heroes in Guardians reference to Campbell’s (2004) theory of of the Galaxy (2014) are arguably devoid hero construction. Giannetti’s (2008) of moral values, whereas, the majority of theory of camera shots and angles are other heroes are usually depicted of also used as reference to help describe having good moral values. Therefore, the and analyze the data. heroes in Guardians of the Galaxy (2014) may help define a broader definition of FINDINGS AND DISCUSSIONS hero. Based on the findings, the heroes in Guardians of the Galaxy are constructed Data collection in ways similar to Campbell’s hero The data are obtained from screenshot of construction. In general, despite of the the scenes that are selected based on the fact that the heroes depart with different stages of hero construction theory by initial drives as their motivation, in the Campbell (2004). The data are then end, the heroes end up having the same analyzed in order to answer the research motivation to save thousands of innocent questions. The first step in collecting the lives. The unique trait of the heroes of the data is to identify the stages of hero Guardians of the Galaxy is that even construction in Guardians of the Galaxy though they depart with drives that make (2014). The screenshot of the scene are most of them only care for the well being then grouped into each character’s of themselves and are not even screenshots. The data are again grouped concerned with greater good, they into each of the hero construction’s stage. unexpectedly are able to end up being heroes. Therefore, it can be seen that in Data analysis the construction of the heroes, the initial The data that have been collected from drives of each of the characters do not the movie are then presented in the table really affect the heroism of the that are prepared for this study. The characters. The initial drives only serve to collected data consist of screenshots of show the background of the characters the stages in the journey in becoming a before they turn into heroes. For

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example, in figure 1, one of the character, factors. For example, when the Peter, Peter, is shown as a ravager through his Gamora, Rocket, and Groot are fighting, desire to gain money. the Nova Corps come to stop their fight. Another example is when they are about to sell the orb to Tivan, again straying away from their heroic path, Tivan’s servant decides to betray Tivan and cause

an explosion that again interferes with Figure 1: Peter is stealing the orb as his their decision that causes them to stray acceptance of the call to his journey of away from their heroic journey. It is becoming a hero unique that the heroes in Guardians of the Galaxy seem to be “forced” to stay on the From figure 1, Peter is seen stealing path of becoming a hero. an orb in an ancient site. His motivation The heroes in Guardians of the behind the stealing is to sell the orb to a Galaxy show a different kind of heroes broker. Peter’s nature is seen from how from what Jake Casale (2014) mentions he decides to steal an orb to be sold later in his article, as the majority of the without even trying to figure out what the protagonists in this universe share the orb truly is. Another example of is same traits where the protagonist is an Rocket who is shown as a bounty hunter individual who is powerful and is driven through his desire to gain money from by a great moral value to battle against capturing people for their bounty. evil. The heroes in Guardians of the From the analysis in the previous Galaxy are arguably devoid of a good section, it can also be seen that the moral value in the beginning of the construction of the heroes are heavily movie as they consist of outlaws that turn influenced by external parties or factors. into heroes in the end. As what Jake The heroes, a number of times, fail to Casale (2014) says about the Guardians overcome their trials and temptations; of the Galaxy that “the characters, however, the heroes manage to keep including the majority of the staying on the right track due to the protagonists, are not particularly intervention from external parties and concerned with the greater good; most

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William Kristanto Construction of Heroes in Guardians of The Galaxy (2014)

only care about their personal stake in the fulfill their earthly desire because of the main conflict.” He also states that the external party. Such as what the team do heroes serve as the opposite of the in the figure 2 at the collector’s place. grandiosity, self-seriousness, and epic sheen that can be seen from the Avenger, another group of superheroes produced by Marvel Studios. And yet, despite of their flaws and dysfunctional group dynamics, they manage to save the universe. The heroes in Guardians of the Figure 2: Peter, Gamora, Rocket, and Groot, tempted by the money, decide to Galaxy are constructed differently from the majority of heroes as if to show that sell the orb for quite a high price for their own desire. anybody can be a hero. As how Adrian

Acu (2016) states that “Heroes need not In figure 2, Peter, Gamora, Rocket, be enthusiastic amateurs or supernatural professionals, and individuals who are and Groot is seen trying to sell the orb for a high price to the collector. Even after neither are not failing to live their lives to the fullest, or to contribute as fully as they the collector reveals that inside the orb is an omnipotent stone that could wipe out could to the common good. There exists something in between that is not simply an entire civilization in an instant, they still insist on selling the orb. This scene a degenerate version of either, but has its own idealized version” (p.204). shows how they easily are tempted by their desire and greed similar to how The heroes in Guardians of the Galaxy also seem to have more of human human normally are. As what Casale (2014) says that the majority of the cast qualities than other heroes which makes them more rounded characters and also in this film might be extraterrestrials, but they come off as far more human than the more relatable to real people. There are a number of times where the heroes, majority of the other superhero. This might make the heroes seems to be less similar to normal people, fail to overcome their temptation by great compared to other heroes; however, this makes them more relatable to themselves, they seem to always fail to

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common people. As have been stated by can be defined as someone who within Casale (2014) where he believes that the his/her limitation, both mentally and heroes in the Guardians of the Galaxy physically, risks his/her own safety to create a special resonance with the save the lives of other people. Despite viewer as it shows why our cultures are whether the characters already possess actually quite close to the central ideas of good moral value in the beginning of the the superhero genre. That the heroes in movie or not, the characters can be Guardians of the Galaxy shows how deemed as heroes as long as they do identifiable they are as real people, but virtuous deeds in which they are willing still, within their limitations, are able to to sacrifice themselves. perform an incredible act of courage. Casale says something similar to what CONCLUSIONS Gargett (2004) mentions as the definition The Guardians of the Galaxy (2014) of heroism by the Concise Oxford shows that heroes are not born, but Dictionary as “an act of courage or constructed. This movie shows how bravery beyond the capacity of most normal individuals, with every limitation ordinary people; an action in which an that they have, are also able to become individual, through extraordinary efforts heroes and save thousands of innocent extends himself/herself – physically, lives. The constructions are also very mentally, or in some other way – so far influenced by external factors, such as that admiration or wonder are produced the people they met and the items they in others” (p.10). The heroes in possess. The external factors can affect Guardians of the Galaxy are shown the construction in various ways, such as relatable as real people, who are able to causing an unexpected turn of events to perform an extraordinary feat to save keep the characters from straying away thousands of life despite of their from their journey in becoming a hero. limitation in both physically and This movie also shows that heroes do not mentally. necessarily have to be full-time heroes. From the discussions, it can be seen Every single individual can perform a that the construction gives new meanings heroic action in time when they need to. to the word ‘hero’. In this context, a hero

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William Kristanto Construction of Heroes in Guardians of The Galaxy (2014)

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