In King of the Yees, the character “Lauren Yee” struggles to relate to her Chinese heritage and her father’s role within the traditional Yee Fung Toy Family Association. This process of self-discovery becomes a metaphorical adventure: when her father mysteriously disappears, Lauren must take a mystical journey through Chinatown to find him. Lauren’s path hews closely to scholar Joseph Campbell’s outline of “the hero’s journey,” a sequence that occurs in stories throughout the world and across various periods of history. As Campbell explains in The Hero with a Thousand Faces, this journey follows a three-act formula: separation/departure (the hero sets off on the journey); initiation (the hero faces trials); and return (the hero emerges triumphant and with new knowledge of self or to be imparted on others). Campbell added that the standard path of this journey follows the same stages as a rite of passage, and he refers to the three stages as “the nuclear unit of the monomyth.” These stages can be further broken down into seventeen sub-stages, some of which we see in King of the Yees. Ultimately, the motif becomes significant in the play because, through her transformational immersion into her Chinese roots, Lauren arrives at a new understanding of herself, her background and her relationship with her father—a purpose certainly aligned with Campbell’s notion of a hero’s journey.