The Hero’s Journey: The Importance Of Storytelling And The Presence Of The Monomyth In Baldur’s Gate 3

The art of storytelling is one of the most important elements of any video game, whether in sound design, visuals, or the narrative of the game. But how could a Celtic cultural tradition possibly have an effect on this? Venture forth, and explore Campbell’s Monomyth in Baldur’s Gate 3!

I’ve been an intern of the VALUE Foundation and the Interactive Pasts team for a good couple of months now. But with this, my internship has come to an end, and I will have published my last blog. So I guess it’s about time I talk about one of my favourite games *wink wink,* Baldur’s Gate 3!

Celticism Gallore!

By now, I’ve mentioned the game a couple of times already in my bulletins and blog posts. It’s not that crazy, considering the game did insanely well upon release (and even after that). And the hype for Larian’s games is still not fully over, because Larian Studios also just announced their new game, Divinity, at The Game Awards with an incredibly gory and awesome reveal/trailer. Needless to say, I’m very excited! (I’m happy to see that Larian continues to work with passion, especially now that they are focusing on their own IP.)

That said, returning to BG3: the studio incorporated a lot of Celticism, Celtic History, and mythology in the game. Most of you who are familiar with the game or know that it has a base in Dungeons & Dragons will probably immediately think of the Druid class. And you’re not wrong. There is a lot to be said about how druids are represented in modern media, including in games like BG3. In fact, it won’t take you long to find a handful of articles about this topic when you Google it. I, myself, wrote a blog on druidic imagery in AC’s Wrath of the Druids only two weeks ago. So as not to write too much about the same topic, I’ve chosen to focus on something else this time.

I won’t be talking about how the brilliant game score, composed by Borislav Slavov, has Celtic elements in it from time to time. Or about how the landscape sometimes (especially in the Emerald Grove) reflects the ancient structures we find on the British Isles today. No, what I am very excited to talk about today is the art of Celtic/Irish storytelling in BG3!

What is Campbell’s “Monomyth”?

The Gaelic storytellers and historians are called Seanchaithe (pronounced: shan-uh-kee) in Irish, and they have a rich history. These bards originally studied for 12 years, learning many valuable skills. Most important was the information they learned from the top of their heads: history, law, folklore, and genealogy. Once they were done with their education, they would work for courts and heads of lineages as consultants, advisors, and entertainers, singing songs and spinning tales about the house they were working for. However, the takeover of English culture not only marginalised Celtic culture, but also the influence the bards and Seanchaithe had, turning them into travelling oral storytellers.

Despite the difficulties the Seachaithe faced, their traditional art persisted. And the formula for their stories hasn’t changed much either. Throughout time, storytellers often incorporated current events and their own experiences into the stories they told, making every single story unique. But despite their uniqueness, traditional Irish stories consistently contain a certain set of elements: heroes who are flawed and have faults, transformation, sacrifice, clear moral teachings, an emphasis on fate, and a cyclical nature, to name a few.

Naming all of these different factors, some of you might already know where I’m headed. Literature professor Joseph Campbell, who worked on comparative mythology and religion, created something called the “Monomyth,” or “The Hero’s Journey.” In his book The Hero With A Thousand Faces, he uses a group of core components to compare different mythological stories from many cultures across the globe. Most importantly for this blog, a lot of “Celtic” stories closely fit the “wheel” Campbell created.

Our Heroes’ Journey

Having spent many, MANY hours in the world of Baldur’s Gate 3 myself, I know a thing or two about the story and the companions who travel along with you. So when I decided to write this blog about the narrative of BG3, it all suddenly clicked. 

Whether Larian intended to or not, they created a story that closely adheres to The Hero’s Journey, and, therefore, to the art of (Gaelic) storytelling itself! Let’s dive into it.

Note: Spoilers ahead!

Separation

Although they all want to figure out what is happening to them, some may be reluctant to go on a quest with complete strangers. After all, building trust takes time (Refusal of the Call). Yet, with the help of the game’s Supernatural Aid, the Guardian, which the characters usually meet during their first long rest in Act 1, the companions Cross the First Threshold, ready to work together and find a cure for their “affliction.”

Initiation

It’s not long before the companions find out their parasites will eventually turn them into Mind Flayers. Although it is curious, it hasn’t happened yet… The game explains that the Supernatural Aid is doing everything they can to slow/stop the transformation. But the fear of transforming into something that vile fully has the companions commit to their journey and show their willingness to undergo a transformation. (I guess, both figuratively and literally, depending on how you play the game). They have now fully stepped into The Belly of the Whale, separating themselves from the world they knew and stepping into the unknown. With this, the first step of Campbell’s Monomyth is complete.

Throughout the rest of the game, the companions undertake a Road of Trials, as they try to find the right person to help them with the parasites/tadpoles and battle the Absolute’s power (the main antagonist). Often, the Road of Trials comes in threes, a number that is conveniently also sacred in a multitude of cultures around the world, including the Celts. In the game, the number three presents itself in the leaders of the Cult of the Absolute: Ketheric Thorm (chosen one of Myrkul), Enver Gortash (chosen one of Bane), and Orin the Red (chosen one of Bhaal).

In many cases (playthroughs), the companions form a loving and trusting bond during all their trials and tribulations, signifying The Meeting with the Goddess. This step in Campbell’s Monomyth represents “all-powerful, all-encompassing, unconditional love,” a description that I think matches the game’s story nicely. (Of course, it depends on how you play the game.)

Every companion has their own motivation to go on this journey, but that doesn’t mean they can’t be tempted to stray from the path. One such instance is when Astarion starts to understand the power that these parasites bring and has to either resist or give in to the Temptation of using these powers for his own gain, knowing it will bring him closer to becoming a Mind Flayer.

The story that Larian created is not a simple “defeat the bad guys” narrative. Each companion has their own complex life outside of this Hero’s Journey that is part of the bigger whole. The layers of depth in this game are what make it feel truly alive and profound. With that said, we arrive at the Atonement with the Father and Apotheosis. In the game, you will get glimpses of the companions’ lives outside of this journey. And like real life, everyone has something they’re struggling with. Depending on how you interact with the companions, you’ll be able to help resolve some of their troubles or help them move on from them. This allows them to confront what is holding them back and “be initiated by whatever holds the ultimate power in his or her life,” which delivers them to a state of “divine knowledge, love, compassion, and bliss.” In Shadowheart’s case, it means that she has to break free from the power that the goddess Shar holds over her to figure out the truth of what happened to her as a child and continue living out the rest of her life as she chooses.

Note: Spoilers of the game’s ending ahead!

How you play the game has a big impact on how the game ends. You can destroy the Absolute, saving all of Faerun, including the companions, or you could become a Mind Flayer by giving in to the parasite/tadpole. Or you could….you know… just have Gale blow himself up. That’s also an option. But let’s, for the sake of this blog, focus on the “most” heroic ending and save the day. The Ultimate Boon is the end phase of the quest. By killing the Absolute, which turns out to be an Elder Brain that the Chosen ones (Ketheric, Gortash, and Orin) have enslaved, the companions have achieved what they set out to do from the very beginning: save themselves from the threat of turning into a Mind Flayer that has been looming over them for the entire journey. (And saving the rest of the world is a great bonus!)

At this point, the companions are no longer who they were when they started their Hero’s Journey. They might not want to return to the place were the Mind Flayers originally abducted them from (Refusal of the Return). To some, the abduction meant freedom. Karlach was happy to have escaped Avernus (the first layer of the Nine Hells) and is, understandably, not too eager to return to that place filled with war and pain. But to all things that start, there must also be an end.

Return

And thus, we have arrived at the final section of Campbell’s Monomyth: the return. The Magic Flight, which signifies the sometimes dangerous escape one has to make with the Ultimate Boon, is not always necessary and doesn’t seem to be present in BG3. This brings us to the Rescue from Without. Returning to normal life after an ordeal like the one the companions went through can’t be easy. Sometimes heroes need a little help. The group of travel buddies is ready to aid one another after everything they went through, surely, but there is one character from the game who takes up this guiding role perfectly: Withers. The old guy will provide you with “words of wisdom” throughout the game, most of the time unprompted, but outside of that, he’s mostly handy for bringing back dead party members. Yet, in the epilogue, he is the one who brings the band back together when he invites everyone to a party. A night to celebrate the “restoration of the balance,” as Withers calls it. He understands that returning to normal life must not be easy and that everyone could use a night off where they can regale stories and be among people who understand what it was like to go through “The Hero’s Journey.”

The companions must now, once and for all, Cross the Return Threshold and return to their lives. They might feel a little out of place, but by enduring everything that has happened to them, they have found their place in the world (Master of Two Worlds) and the Freedom to Live. They no longer have to fear death or whatever else held power over them at the beginning of the game, and get to live the rest of their lives exactly how they want to. (As long as you have played out their personal quests.)

A Dying Art No Longer

By taking you through Campbell’s Monomyth step by step, I hope to have proven that the game does indeed adhere to his comparative concept. And just like the oral storytellers from Ireland, the story involves flawed heroes, transformation, sacrifice and an emphasis on fate. The two (Irish stories and the Monomyth) intertwine so closely  that you can’t even pick them apart anymore. (In the end, this is the point Campbell was trying to make.)

I find it beautiful how BG3’s story continues the same narrative tradition as that from the Celtic stories and countless other folkloric cultures around the world. The art of oral storytelling in a digital age is difficult enough as it is. But instead of battling one another, BG3 seems to complement its oral twin. Especially when you add in the power of the game’s narrator. As I previously mentioned, the game’s base is in Dungeons & Dragons. This is, in itself, also a form of oral storytelling. And with that, both D&D and BG3 continue that wonderful tradition. 

If you haven’t gotten enough of Baldur’s Gate 3 yet, or are interested in learning more about it, I highly recommend checking out our team’s playthrough over on Twitch!

And with this, I bid you all a very fond farewell!