Lines are the key to all forms of navigation, from contour lines, constellations, and roads, lines are how we follow and map our journeys. These lines can be complex or simple, or sometimes both, like the labyrinth. Looking down from above the labyrinth looks like a twisted maze meant to confuse you but in reality, it's simply one single line, one path to follow, one journey to complete.

This publication descends into Pan’s Labyrinth and how the Heroes journey mimics the mental journey real life labyrinth walkers are meant to make.

Into the Labyrinth is a response to the ISTD Brief – ‘The Line’, the publication explores the introspective and reflective nature of walking a labyrinth by analysing Pan’s Labyrinth (2006, Guillermo del Toro) and Ofelia’s heroes’ journey.

The most famous labyrinth is the Labyrinth of the Minotaur, a mythical Greek monster who was trapped in a labyrinth underneath the island of Cyprus by King Minos, and to whom two young Athenians were sacrificed to each year.

The Christian tradition of labyrinths however seems to have evolved from the earlier association with the underworld, as walking the labyrinth is seen as the journey to God, filled with twists and turns but always in the right direction. Thus, it's used as a method of spiritual cleansing, as you walk the labyrinth you reflect on your problems before exiting calmer and more understanding than before.

This publication is separated into an Introduction, Prologue & Epilogue, and 3 main chapters. The Introduction tells the reader a brief history of labyrinths and how they were used as well as a brief summary of Pan’s Labyrinth in case they haven’t seen the film. The Prologue & Epilogue is taken directly from the movie script and play the same function as they do in the film, introducing/concluding the main plot of Princess Moanna/Ofelia’s journey back to the Underworld.

The main three chapters focus on the trails Ofelia has to face as she wanders the Labyrinth to achieve immortality, with the first chapter introducing the characters who create these problems, the second chapter analysing how she faces them and grows, and the third chapter comparing how Ofelia has learned the morals needed to gain eternal life, while Captain Vidal’s obsession has doomed him to oblivion.

This document takes inspiration primarily from Bibles and Typographers inspired by bibles, such as Phil Baines, both as a nod to labyrinths role in religious ceremonies and to the various books Ofelia is seen with throughout the film, such as old children’s tales and the Book of Crossroads. This publication is designed to look and feel old when held in your hand with a hard cover and aged looking paper.