We have established that the 'hero's journey' can be a good basic framework for an exciting and entertaining story. Our protagonist, our main character of the plot, that is, our hero (or heroine, of course) is also subject to certain mythological structures. Our hero must undergo a development in the course of the story. In the classic heroic saga, the hero is a pretty boring guy. There is no development. That's why movies about Superman or the Jedi Knights are so difficult. If the hero is omnipotent, that is, invincible, conflicts that get the hero into trouble are hard to find. An interesting character has fractures or dark sides, scars or bad experiences that make him more human.That's why, in my opinion, the hero in Joe Johnston's Captain America - The First Avenger (2011) also works better than Zack Snyder's Superman in 'Man Of Steel' (2013).Both characters are 'boy scouts,' good boy scouts. Good through and through. Captain America is something the audience can identify with, as we see him in the first act as the lanky Steve Rogers that any bully can effortlessly beat up. We have all felt weak and helpless at one time or another. We can identify with Steve Rogers. We empathize with Steve Rogers when he becomes Captain America. The alien Kal-El in Davd S. Goyer's script for 'Man Of Steel' is portrayed as a reluctant hero. Throughout his life, he must keep his enormous powers under control to protect others and himself. Kal-Els/Clark Kent's adoptive father makes him realize this over and over again. It's interesting and we can relate to it as well. We learn from our parents that we must not act out our instinctive urges to violence. Even if I want the bucket from my playmate in the sandbox, I must not simply pull the shovel over his skull to achieve my goal. This is not how rational people treat each other. The showdown between Superman and the villain General Zod is all the more disappointing. The two basically fight like two kids in a sandbox. With the difference that thousands of people die during their fight in a big city due to their incredible powers. The ending leaves a stale aftertaste. Goyer wanted to show us an unfinished, still uncontrolled Superman to allow the character to develop. But unlike Steve Rogers in 'Captain America', Superman as a character seems passive as a result. And when he finally becomes active, it's in such an exaggerated way that it's impossible to sympathize with him when he goes up against General Zod.So a hero has to go through a comprehensible development in the story to be an interesting character.If we follow our act structure, our hero goes through the following phases:

Act 1 - Orphan

Act 2 Part I - Wanderer

Act 2 Part II - Warrior

Act 3 - Martyr

In Act I, our hero is an 'orphan', a blank slate.

Luke Skywalker is a farm boy who dreams of fighting the Empire on the desert planet of Tatooine.

Harry Potter lives in his chamber under stairs and wonders why he is different from others.

Steve Rogers is a lanky young man who desperately wants to go to war against the Axis powers like his friends.

In the first part of Act 2, the hero embarks on 'wandering'.

Luke, together with Obi-Wan Kenobi, sets off in search of Princess Leia.

Harry Potter makes his way to Hogwarts.

Steve Rogers goes to war as Captain America, but not to fight, but to sell war bonds and for troop entertainment.

In the second part of Act 2, the tide turns. Our hero finally becomes active. He becomes a 'warrior

Luke Skywalker frees the princess from prison in the Death Star.

Harry Potter sets out with his friends Ron and Hermione to find the Philosopher's Stone.

Steve Rogers tries to confront the villain 'Red Skull'.

In the third act, the hero must sacrifice himself. He becomes a 'martyr'. He 'sacrifices' himself, for the good of his friends. As a reward, he wins the victory and emerges from the experience stronger and more mature.

Luke Skywalker risks his life to destroy the Death Star. In a ceremony, he is rewarded by the princess with an award.

Harry Potter confronts Voldemort for the first time. Despite Voldemort's power, Harry manages to put the villain to flight (for now).

Steve Rogers crashes the 'Red Skull' flying wing to save New York from destruction. He survives and awakens 70 years later in our time to experience new adventures as a mature hero.