The Information Quest

The Information Quest: Mapping the Information Adventure to ‘The Hero’s Journey’ of Joseph Campbell’s Monomyth by Lynda Tolly


Does it ever feel as though some students find themselves lost in the midst of their information-seeking travels and travails? They seem tired and weary from seeking the elusive Holy Grail of research – the resources that will work best with their current research needs and help them achieve that stellar paper or project. Too often, errant students wander aimlessly, misguided along the path of their own wayward information quest. In a sense, they become the heroes in their own quest narrative, but as with all quests, heroes often find mentors and guides along the way to help them conquer the multiple tests and challenges they face before they can reach their journey’s end and return home triumphant with their hard-earned GPA intact. Thus, the information seeking process can oftentimes seem like the quest of the ‘Hero’s Journey’ as described by Joseph Campbell in his seminal work The Hero With a Thousand Faces.


Campbell’s Monomyth

Ever since mythologist Joseph Campbell plotted the hero’s journey onto the archetypal monomyth in The Hero With a Thousand Faces, originally published in 1949, his theories have enchanted legions of devoted followers and fanned the flames of detractors. Though Campbell remains popular outside of the academy, numerous scholars in the realms of Comparative Mythology have been critical of his writings (Lundwall, 2006). Campbell’s work has been described as elitist (Segal, 1992, p.42) and culturally imperialistic (Oldmeadow, 2004, p.111), and folklorist Alan Dundes writes of Campbell, ‘there is no single idea promulgated by amateurs that has done more harm to serious folklore study than the notion of archetype (2005, p.397).  Feminist critics have also found fault in Campbell’s male-centric heroic monomyth, noting that Campbell’s ‘archetypal female is essentially passive’ (Lefkowits, 1990, p.432).

Even if Campbell’s reputation has suffered slings and arrows at the hands of folklorists and mythologists, his theories continue to influence storytellers and filmmakers. George Lucas famously acknowledged how Campbell’s dissection of the hero’s journey influenced the Star Wars trilogy, and Christopher Vogler turned Campbell’s monomyth into a ‘practical guide’ for screenwriters in his book The Writer’s Journey.

What exactly is this monomyth and why has it become such a lightning rod for both devotion and controversy? As Campbell explains,

A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man. (Campbell, 1971, p.30)

Campbell claims that all mythologies from every culture across the world, spanning all time periods, ultimately have a common narrative—the story of the hero’s journey:

The mythological hero … is lured, carried away, or else voluntarily proceeds, to the threshold of adventure. There he encounters a shadow presence that guards the passage. The hero may defeat or conciliate this power and go alive into the kingdom of the dark … Beyond the threshold, then, the hero journeys through a world of unfamiliar yet strangely intimate forces, some of which severely threaten him (test), some of which give magical aid (helpers). When he arrives at the nadir of the mythological round, he undergoes a supreme ordeal and gains his reward. The final work is that of the return … The boon that he brings restores the world. (pp.245-6)


In his book The Writer’s Journey, Christopher Vogler adapts Campbell’s monomyth for the three-act structure of narrative storytelling. Vogler summarizes:

The hero is introduced in his ORDINARY WORLD where he receives the CALL TO ADVENTURE.  He is RELUCTANT at first to CROSS THE FIRST THRESHOLD where he eventually encounters TESTS, ALLIES and ENEMIES.  He reaches the INNERMOST CAVE where he endures the SUPREME ORDEAL.  He SEIZES THE SWORD or the treasure and is pursued on the ROAD BACK to his world.  He is RESURRECTED and transformed by his experience.  He RETURNS to his ordinary world with a treasure, boon, or ELIXIR to benefit his world (Vogler, 1998, p.26).[1]

Since Vogler examines this mythic structure from the perspective of storytellers, specifically filmmakers and screenwriters, he is also using this same journey motif to explain the character arc of the hero’s internal journey (Vogler, 213).

The hero's journey, vogler

Illustrations from Vogler,

 [Note] On the “Hero’s Journey” page of his accompanying website The Writer’s Journey,, Vogler has additionally adapted Maureen Murdock’s Heroine’s Journey to address issues of gender bias that have been leveled against Campbell’s monomyth.

Huntley's version of Vogler's hero's journey

Illustration from Huntly, 2007, based on Vogler, 1998.


To accompany the archetypal hero on his journey, Vogler also identifies archetypal characters that typically show up along the path of the hero’s journey, including the mentor, the threshold guardian, the herald, the shapeshifter, the shadow, and the trickster (Vogler, 1998, p.32), many of whom can also often be found along the path of the information quest.


From the Hero’s Quest to the Information Quest

As Vogler observes,

The values of the Hero’s Journey are what’s important. The images of the basic version – young heroes seeking magic swords from old wizards, maidens risking death to save loved ones, knights riding off to fight evil dragons in deep caves, and so on – are just symbols of universal life experiences. The symbols can be changed infinitely to suit the story at hand and the needs of the society. The Hero’s Journey is easily translated … by substituting modern equivalents for the symbolic figures and props of the hero’s story … Modern heroes may not be going into caves and labyrinths to fight mythical beasts, but they do enter a Special World and an Inmost Cave … The Hero’s Journey is infinitely flexible, capable of endless variation without sacrificing any of its magic, and will outlive us all. (1998, pp.26-7)

If we take this assertion a step further, not only can we see the hero’s journey in the stories that are told through various media, from books to movies to comics, but we can see the hero’s journey in almost any quest, including the information-seeking quest.  If we assume our information-seeker to be a college student new to scholarly research, we might be able to chart her course along the following path of the hero’s journey:

  1. She inhabits her ORDINARY WORLD where she typically seeks information from known resources to which she was introduced in high school or has discovered on the Internet.
  2. The HERALD, her instructor, issues a CALL TO ADVENTURE in the form of a college-level assignment that requires scholarly research.
  3. She is RELUCTANT at first or REFUSES THE CALL to enhance her information-seeking behaviors, assuming that she can find what she needs without additional training in finding and using scholarly resources.
  4. After encouragement from MENTORS, such as instructors, librarians, and advisors, she eventually realizes she won’t be able to produce quality work without getting some training and assistance in library research.
  5. She must CROSS THE FIRST THRESHOLD by entering the SPECIAL WORLD where she can access scholarly academic research. In the university setting, this first threshold might be seeking help from a librarian, learning where to access resources, learning how to find her way around the library system and where to find databases, and learning how to get into these databases, such as through use of a campus proxy server or Virtual Private Network.
  6. She encounters TESTS, ALLIES, AND ENEMIES along her path. Her ENEMIES might include the research resources that lead her down the wrong paths, such as the TRICKSTER (hoax), the SHAPESHIFTER (crowd-sourced), and the SHADOW (biased) – Internet sites that prove unreliable as resources for her scholarly research. In addition to MENTORS (librarians and instructors), her ALLIES might be research guides or tools and resources to help her flesh out her topic and find appropriate resources. Her TESTS might involve learning information literacy skills that teach her to utilize the library databases effectively and efficiently and how to evaluate and use the resources she discovers.
  7. She crosses the second Threshold and APPROACHES THE INMOST CAVE. Guided by her librarian MENTOR, she has acquired the skills and tools necessary to enter the belly of the beast and find and evaluate reliable research resources needed for her scholarship. She has also learned how to utilize the research resources ethically and responsibly and has gained tools and tips for avoiding plagiarism and now knows how to incorporate research into her writing using appropriate citation formats.
  8. Once inside the INMOST CAVE, she endures the ORDEAL by using her research for her writing assignment and completing her paper.
  9. Her REWARD comes in the form of a good grade.
  10. She pursues THE ROAD BACK by celebrating her reward.
  11. She crosses the third Threshold by experiencing a transformative RESURRECTION, which is the realization that her reward was not only the good grade achieved on this one assignment, but was in fact the lessons and skills acquired along the path that will aid her in her next information quest.
  12. She RETURNS WITH THE ELIXIR, which involves bringing her enhanced research skills to aid her in other classes and to aid her in her post-undergraduate pursuits. She found the Holy Grail of her information quest – the skills and knowledge needed to become a lifelong learner.

We can see how the arc of Vogler’s character growth also fits this model of the hero’s journey:

  1. Our college student has a LIMITED AWARNESS OF A PROBLEM.  She is unaware that her limited research skills are inadequate for college-level work or for producing scholarship within a chosen discipline.
  2. She gains an INCREASED AWARENESS from her instructor about the need to find and use scholarly academic resources in her research.
  3. She initially has a RELUCTANCE TO CHANGE and tries to find resources on her own.
  4. She OVERCOMES her RELUCTANCE TO CHANGE and recognizes she needs help.
  5. She COMMITS TO CHANGE by seeking assistance from a librarian, attending research workshops, and seeking out resources and tools that help expand and enhance her research and information literacy skills.
  6. She EXPERIMENTS WITH FIRST CHANGE by attempting to use the databases, tools, and skills to which she has been introduced.
  7. She PREPARES FOR BIG CHANGE by gathering her research resources.
  8. She ATTEMPTS BIG CHANGE by critically evaluating her research and incorporating her research into her paper.
  9. The CONSEQUENCES OF THE ATTEMPT are apparent in the improvements she has demonstrated in her research and writing.
  10. She REDEDICATES TO CHANGE by recognizing that the research skills she used on this paper helped her achieve a better grade.
  11. Her FINAL ATTEMPT AT BIG CHANGE is using her newfound information literacy skills for a new challenge in another class.
  12. Her FINAL MASTERY OF THE PROBLEM is an enhanced understanding that she has added valuable skills to her arsenal and knows how to approach and conquer information challenges and knows where to get additional help when needed.


Meet Sir Learnsalot and the Sorceress Librarian

With an understanding of the information quest as a type of hero’s journey, I set out to further demonstrate this connection through a series of tutorials called ‘The Tales of Sir Learnsalot and the Sorceress Librarian.’ My goal was to create a character who was himself on an information quest, and I decided to give the story a narrative arc so that students could follow along, and learn as the character learns.  As a solo librarian in a departmental reading room that is administered by an academic department but affiliated with the larger university library system, my primary focus was to aid students who are using our departmental facility, the Grace M. Hunt Memorial English Reading Room. To add a bit of whimsy and levity into the tutorials, I created an animated protagonist, and since I’m a librarian in an English Department collection, I wanted to incorporate a discipline-related theme. Thus I created the animated character Sir Learnsalot.

I structured the video tutorials along the path of the hero’s quest: Separation, Initiation/Transformation, and the Return, assigning each video a set of learning outcomes that correspond to the hero’s course along this discipline-focused information literacy journey. Each video includes a fantasy sequence that serves as a metaphor for the learning objective of the module, followed by a consultation session between Sir Learnsalot and the librarian, with screencast demonstrations intercut into the conversation. The individual videos can be found on the Grace M. Hunt Memorial English Reading Room YouTube channel:

The videos have also been mapped onto the graphic representation of the Hero’s Journey on the following Prezi presentation.


The first video, Sir Learnsalot and the Sorceress Librarian, demonstrates the hero’s CALL TO ADVENTURE. At first, he is RELUCTANT to accept help in narrowing and focusing his research topic, but after encouragement from the librarian MENTOR, he sets upon the path of learning how to more efficiently and effectively conduct library research. By accepting help from his supernatural aid, the Sorceress Librarian, in Sir Learnsalot and the Library Labyrinth he discovers how to find information about the larger library system in general and the English Reading Room in particular and embarks upon his journey.

In Sir Learnsalot and the Threshold Guardians, he CROSSES THE FIRST THRESHOLD by learning how to use the VPN client to access library-licensed content. In Sir Learnaslot and the Compass of Research Strategy, he has now crossed over into the SPECIAL WORLD where he must chart his course towards finding, evaluating, and using discipline-focused library resources. He is TESTED along the path, and in Sir Learnsalot and the Test of Boolean Logic, he must pass the initiation challenge by mastering basic information literacy skills, such as using keywords to search library databases. He also must learn to recognize and defeat ENEMIES such as TRICKSTERS, SHAPESHIFTERS, and SHADOWS, which can correspond to non-reliable resources and Internet sites. In Sir Learnsalot and the Tricksters and Shapeshifters of the Internet, he adds to his arsenal by learning to use the CRAAP evaluation. He is now ready to APPROACH THE INMOST CAVE by learning to use the library catalog in Sir Learnsalot and the Search Through Catalogus Librorum.

Once inside the INMOST CAVE, he delves even deeper in Sir Learnsalot and the Journey Through the Sea of Journals, where he learns how to find peer-reviewed scholarly journal articles for his research. He has succeeded in his REVELATION, TRANSFORMATION, and ATONEMENT – he now knows where to find and how to use discipline-focused library resources, and he has the information literacy skills necessary to embark upon future information quests.

Though his supernatural guide, the Sorceress Librarian, has accompanied him this far down the path, there are parts of the journey he will travel alone, or he will need to also seek other helpers along his path towards his REWARD and the ROAD BACK. He RETURNS triumphant from his quest with the skills necessary to not only produce scholarship in his chosen discipline, but also armed with the knowledge of where to get more help and how to be successful in his next information quest.


From Quest to Game

The next logical step might be to envision the information quest as an adventure game. In the seminal work, What Video Games Have to Teach Us About Learning and Literacy, Gee (2007) demonstrates how games can parallel information-seeking behaviors and foster learning. Many recent scholars have noted the similarities between gaming and the research process, examining how ‘games present the same mythic challenges as Campbell’s metamyth’ (Smale, 2011, p.48) and how ‘games appropriate the monomythic folkloric kingdom creating a postmodern rechanneling of traditional content elements and structures (Sherman, 2013, p.256). Dickey (2006) examines how ‘the common structure found in most adventure games … is the quest’  (p.254), and he maps a similar learning quest to Vogler’s interpretation of the hero’s journey (p.255-6).

Thus, I wanted to turn the Sir Learnsalot series into a game. Using the video gamification platform ParWinr, I added some gaming elements to the videos and embedded these into Sir Learnsalot’s mock blog post, The Adventures of Sir Learnsalot, where questions and challenges have been added to the videos, allowing the student watcher to play along and earn the prize at the end of the series of video modules, conference of the title ‘Knight of the English Reading Room.’

 Adventures of Sir Learnsalot screenshot


Sir Learnsalot and the Sorceress Librarian



Whether the information need is small or epic, each information-seeking adventure can be like the hero’s quest – heeding the call of the herald, seeking help and guidance from mentors, gathering tools for the journey, mapping out a course, embarking upon the journey, facing challenges and trials, and venturing deep into the darkness of the cave to emerge victorious and return home triumphant. Indeed, the information-seeking process in its entirety can be mapped to the hero’s journey of Joseph Campbell’s monomyth and the quest narrative. Thus, turning the learning process into a quest narrative and quest game can be a fun way to introduce students to the information literacy skills that will serve them well in their own information journeys.




Adams, M. V. (2008). Does myth (still) have a function in Jungian studies? Modernity, metaphor, and psycho-mythology. In  L. Huskinson, (Ed.). Dreaming the myth onwards: New directions in Jungian therapy and thought (pp. 81-90). New York: Routledge.

Campbell, J. (1971). The hero with a thousand faces (2d ed.). Princeton, N. J.: Princeton University Press.

Dickey, M. D. (2006). Game design narrative for learning: Appropriating adventure game design narrative devices and techniques for the design of interactive learning environments. Educational Technology Research and Development, 54(3), 245–263. doi:10.1007/s11423-006-8806-y

Dundes, A. (2005). Folkloristics in the Twenty-First Century (AFS Invited Presidential Plenary Address, 2004). Journal of American Folklore, 118, 470, 385-408.

Gee, J. P. (2007). What video games have to teach us about learning and literacy. New York: Palgrave Macmillan.

Harris, A., & Rice, S. E. (2008). Gaming in academic libraries: collections, marketing, and information literacy. Chicago: Association of College and Research Libraries.

Harris, R. (2012). Hero’s Journey: Life’s Great Adventure.  The hero’s journey: Life’s great adventure. Retrieved from

Harris, R., & Thompson, S. (1997). The hero’s journey: A guide to literature and life. Napa, CA: Ariane Publications.

Huntly, C. (2007). How and why Dramatica is different from six other story paradigms. Dramatica Story Theory. Retrieved from

Labre, M. P., & Duke, L. (2004). ‘Nothing like a brisk walk and a spot of demon slaughter to make a girl’s night’: The construction of the female hero in the Buffy Video Game. Journal of Communication Inquiry, 28(2), 138–156. doi:10.1177/0196859903261795

Lefkowitz, M. R. (1990). Mythology: The myth of Joseph Campbell. The American Scholar, 59(3), 429–434. doi:10.2307/41211815

Lundwall, J. K. (2006). Reinvigorating innovation: Theory, myth, and the Campbell critics. Cosmos and Logos: Cosmology, Mythology and Ancient Mysteries. Retrieved from

Murdock, M. (1990). The heroine’s journey (1st ed.). Boston, Mass. : [New York, N.Y.]: Shambhala ; Distributed in the U.S. by Random House.

Oldmeadow, H. (2004). Journeys East: 20th century Western encounters with Eastern religious traditions. Bloomington, Ind: World Wisdom.

Segal, R. (1992). Myths versus religion for Campbell. In K. L. Golden (Ed.), Uses of comparative mythology: Essays on the work of Joseph Campbell (pp. 39-51). New York: Garland Pub.

Shearer, A. (2004). On the making of myths: Mythology in training. Journal of Jungian Theory and Practice, 6(2), 1-13.

Sherman, S. R. (1997). Perils of the princess: Gender and genre in video games. Western Folklore, 56(3/4), 243–258. doi:10.2307/1500277

Smale, M. A. (2011). Learning through quests and contests: Games in information literacy instruction. Journal of Library Innovation, 2(2), 36–55.

Vogler, C. (n.d.). Hero’s journey.  Retrieved from

Vogler, C. (1998). The writer’s journey: mythic structure for writers. Studio City, CA: M. Wiese Productions.

[1] On the “Hero’s Journey” page of his accompanying website The Writer’s Journey,, Vogler has additionally adapted Maureen Murdock’s Heroine’s Journey to address issues of gender bias that have been leveled against Campbell’s monomyth.