Kat believes that if every soldier got the same food and the same pay, the war would end quickly. Kropp proposes that the declaration of wars should be conducted like a festival. He thinks that the generals and national leaders should battle one another with clubs in an open arena--the country with the last survivor wins the war. Paul and his friends remember the recruits' barracks with longing now. Even Himmelstoss's petty humiliations seem idyllic in comparison to the actual war. They muse that Himmelstoss must have been different as a postman and wonder why he is such a bully as a drill sergeant. Kropp mimics Himmelstoss and shouts, "Change at Löhne," recalling a drill in which Himmelstoss forced them to practice changing trains at a railway station. Kat suggests that Himmelstoss is like a lot of other men. He remarks that even a dog trained to eat potatoes will snap at meat given the opportunity
There is another striking similarity between the initiation rites of tribal and fra- ternal societies: They simply will not die. Resisting all attempts to eliminate or sup- press them, such hazing practices have been phenomenally resilient. Authorities, in the form of colonial governments or university administrations, have tried threats, social pressures, legal actions, banishments, bribes, and bans to persuade groups to remove the hazards and humiliations from their initiation ceremonies. None has been successful. Oh, there may be a change while the authority is watching closely, but this is usually more apparent than real-the harsher trials occurring under more secret circumstances until the pressure is off when they can surface again. On some college campuses, officials have tried to eliminate dangerous hazing practices by substituting a "Help Week" of civic service or by taking direct control of the initiation rituals
A hero's wounds may not be visible. People put a great deal of energy into protecting and hiding these weak and vulnerable spots. But in a fully developed character they will be apparent in the areas where she is touchy, defensive, or a little too confident. T h e wound may never be openly expressed to the audience — it can be a secret between the writer and the character. But it will help give the hero a sense of personal history and realism, for we all bear some scars from past humiliations, rejections, disappointments, abandonments, and failures. M a n y stories are about the journey to heal a wound and to restore a missing piece to a broken psyche. ESTABLISHING W H A T ' S AT STAKE For readers and viewers to be involved in the adventure, to care about the hero, they have to know at an early stage exactly what's at stake. In other words, what does the hero stand to gain or lose in the adventure? W h a t will be the consequences for the
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