Inside Out and the Character Archetypes

I saw the new Pixar movie, Inside Out, a couple of weekends ago, and I was utterly enthralled. It’s a very human, real story about emotions and trials in life.

Now, talking about it here isn’t gonna be very interesting, since it follows the Hero’s Journey almost to a T, but I thought it might be interesting to talk about the characters and how they embody the Archetypes. They are, after all, literally archetypes themselves. So let’s start with the easy ones:

Anger is a perfect example of the Emotion Archetype. He is irascible, uncontrollable, and literally fiery in temperament. More than once, he just snaps and expresses himself however he wishes.

Disgust is pretty close to the Skeptic. She’s quiet and moody, and she never seems to approve of anything. Her whole thing is that she makes sure nothing is embarrassing or gross.

Sadness shows more than a little bit of the Contagonist. The whole point of the story is that she’s begun to be a hindrance towards Joy’s endless happiness campaign. She keeps drawing Riley away from being like she used to be. This infuriates Joy to no end, meaning Joy is probably the Guardian, at least in part.

I also see a bit of it in Bing-bong, the imaginary friend. He guides them throughout Riley’s mind, teaching them how everything works and aiding them in their quest to get back to HQ. He’s a bit… slapdash about it, but he means well.

Joy herself seems to be a mix of the Sidekick and the Protagonist. She’s the one in charge of Riley’s mind, and she always tries to stay relentlessly positive, even when her carefully-constructed reality comes crashing down around her. I’ll explain why I’m a bit hesitant about this definition in a moment.

Now Fear is a bit tricky. He’s closest to the Reason character, but he’s a bit jumpy and negative, like Disgust. I think he’s a bit of a Skeptic as well, which is why he muscles out Disgust pretty frequently. But he’s also a little Emotion too, but Anger muscles him out of that. Now you could call that bad storytelling, but I think it speaks to the fact that they squabble in-story as well; they need Joy to help balance each other out.

There’s only one Archetype left, but here’s where my analysis stalls out. Who is the Antagonist? None of the characters actively want Joy and Sadness to not get back to Headquarters; it’s only the sheer enormity of Riley’s brain and the lack of options available to them to get back that impedes them. I guess Sadness is kind of antagonistic with her resignation early on, but that’s why I had her as the Contagonist.

One thing that jumps to mind is that the Goal isn’t just to return back to HQ with the missing Core Memories, but something deeper, like “Maintain Riley’s cheerful naiveté” or “Help Riley grow as a person.” The first has a similar problem to what I had before, but the second is interesting, as it makes Joy the Antagonist in a certain respect. She’s the one who wants to keep everything as it was, who actively Avoids letting Sadness’ Core Memory join the others. In this view, Sadness is essentially an unwitting Protagonist.

Of course, all of this is ignoring the overall metaphorical impact of the story’s structure, but I’ll leave that to all of you to think about. (For example, it’s interesting to note that the Main Character’s name isn’t Happiness. The story’s moral, after all, is that happiness is as much born from Sadness (and the other three fundamental emotions) as it is from sheer Joy.) What do you all think? What is the clearest way to understand this story? I’m curious to see what you all thought of this movie.

I didn’t get too far into the Dramatica end of things here http://wp.me/p4Q6fC-ac, but felt the goal was keeping Riley happy whereas helping her grow seems as though it would be a by-product of the journey itself. I wouldn’t necessarily call the father the antagonist, but through Riley’s eyes, he certainly becomes the lightning rod for her discontent.

This is evident in moments such as when he gets a phone call interrupting their moment of fun to the memories of the trip resulting in sadness (stemming from asking what her favorite part of the trip was and she mentions something about her father.) The big point, however, which I believe acts as the inciting incident, is when Riley’s mother asks her to essentially wear a happy face for her father’s sake. That pretty much seals the deal and he becomes a target for resentment (which is closely related to anger).

In doing so, Riley suppresses her own true feelings of sadness which results in internal conflict. I found this aspect of the story - essentially its theme - to being very similar to The Babadook’s.

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I just saw the movie today (it FINALLY got released in the UK), and I’ve been trying to find the Dramatica structure within the story. I think you’ve dealt with the archetypes pretty well, so I’ll just add my two cents about the structure (my theory).

As @JBarker said, Keeping Riley happy is the overall story goal. In her head, the emotions are aiming to do that; and outside, her mother and father continually talk about her as their “happy little girl”. Riley even tries to run away to go back to the place that made her happy.

Joy is the main character and Sadness the obstacle; Joy being the do-er that changes, and Sadness as the be-er [A great moment of this being demonstrated is the scene in which Bing Bong loses his rocket; Joy attempts to drag him away, while Sadness sits and adapts to his emotional outpouring]. As a Universe character, Joy is the dominant emotion in Riley’s head; and takes primary control of the system.

I think an argument could be made for the opposite way around (Joy seems very fixed-attitude when dealing with Sadness much of the time; determined to keep Sadness away from the console), but the amount of times Joy made an active play to get back to headquarters seems to cement her position as a Do-er. And Sadness also seems unable to resist touching the memories, which suggests she fits into the ‘preconscious’ concern.

Their relationship deals with Joy’s attempted manipulations and schemes to get Sadness away from the memories (“Read these manuals!”, “Stay in your sadness circle!”), ultimately coming around to the fact that Sadness is necessary in Riley’s emotional system.

My Domain/Concern theory (so far):
OS: Keeping Riley Happy (Physics/Doing)
MC: Joy (Universe/Progress)
OC: Sadness (Mind/The Preconscious)
RS: Co-workers (Manipulation/Being)

Just as an additional note: I loved this movie and I’m so, so glad that Pixar are back on form. Just hoping The Good Dinosaur is better than it looks.

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Upon a rewatch of the movie, I think I’ve narrowed down the storyform. It fits quite well for me, but I’m willing to explain my theory if people don’t agree.

Inside Out.pdf (39.0 KB)

I think the Relationship and Overall Throughlines are accurately assigned. However, I do have a problem with placing Joy in Universe. I don’t see how she’s experiencing a problematic situation unique to her.

In fact, I have trouble placing her at all. All of her conflicts are shared by the other throughlines. The most likely candidate for her unique conflict is her unwillingness to share emotional space with Sadness, but that’s covered in the Relationship Throughline.

This is kind of a problem for Sadness as well. Sure, she has a Fixed Attitude and Impulse problems, but so does every other character in Riley’s brain. It’s unclear why only Sadness’ issues impact Joy while the others do not.

It’s clear the filmmakers invested in the Relationship Story between Joy and Sadness – it just seems to me that the MC and IC did not receive the same singular attention.

I’ll be honest in saying Joy in Universe came about because I selected do-er. That’s it, really. The consolation scene between Joy, Sadness and Bing-Bong clearly established Joy as a do-er, and Sadness as a be-er.

If I had to try and justify it: Joy is the leader of the emotions, and calls most of the shots. She has the highest status of all of the emotions. When she and Sadness are cast out, Joy’s concern indirectly focuses on how things run without her – good or bad, headquarters cannot be efficiently run without her (which may be part of the overall story, I’m not sure).

Those are the directions of the four throughlines, to me;
Overall – Maintaining Riley’s Well-Being
Joy – Losing a Position of Status
Sadness – Trying to Help Out
Relationship – Figuring Out One’s Place in the Mind

It is tricky, cause they all kind of overlap. But I definitely think Joy’s throughline is about a fall from a place of power. It’s kind of similar to Woody in Toy Story – in the same way Woody has to let go of his dominance, she has to learn to share the power of the console with Sadness.

And the reason for purely having Sadness make the impact on Joy is because Joy understands the other emotions’ purposes, but not Sadness – I think that’s explained fairly early on, but I might be wrong on that.

At this point of the story, it’s definitely part of the OS. In general the problem is that it is easy to define how Joy is the Protagonist, but her personal MC issues are missing.

How does being the leader with the highest status cause problems for her? These are true facts about her, but it’s unclear to me how they create a conflictual Situation.

One could argue that she has a personal need to always be the leader and call the shots, but that is a Manipulation problem and is covered in her Relationship. One could also argue she has a Fixed Attitude problem, but where does that leave Sadness?

Riley clearly has a Situation problem, but her issues almost exist outside the storyform, oddly enough. Are audiences responding to this film because they’re imputing Riley’s personal issues to Joy (sequences where the latter shows tender attachment to the former might be selling this), thus round-about completing the argument?

Valid point. It’s definitely an under-developed throughline. I was convinced that Joy was fixed attitude up until the Bing Bong crying scene and then Joy making countless efforts to get back to headquarters. So, if the OS is in Activity (which is almost certain), she has to be a Situation character. There may be some kind of subtextual conflict we’re missing.

You may have to provide some examples of that. At the minute, I don’t fully comprehend the connection there.

I think the filmmakers were unconsciously splitting up the MC and RS (half of it anyway) roles between Riley and Joy.

Riley has the strongest Situation conflict in the story – she had no choice but to leave friends and familiarity behind. Joy is strongly tied to Riley in that she springs from her mind like Athena, fully-formed, shortly after birth. Later, when the other emotions clock out, Joy remains to watch Riley with affection, often reaching out to her image on the screen – but it’s as much familial as it is narcissistic, like she’s adoring her own image in the pool. She IS Riley.

In short, Riley has the problematic Situation, while Joy has the relationship issues with Sadness.

I’m not of the opinion that this setup is legit or that it works at all…I would just be surprised if any of the creators said they didn’t view Joy and Riley as flip sides of a coin.

We decided to do this film for the Users Group meeting next week. Should be some interesting discussion!

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