Showing posts with label Martial arts. Show all posts
Showing posts with label Martial arts. Show all posts

Saturday, July 27, 2019

The Legend of Korra: Antagonists, Anomie and Authority








 The Legend of Korra  an animated continuation of the very popular animated series Avatar: the last Airbender, tackled more adult themes than the previous series and grappled with greater and more complex social commentary with the inclusion of “anarchic” and totalitarian groups in the show’s final two seasons. Each of these groups in their own way embody different sociological ideas of Durkheimian anomic structures, Weberian authority and the formation of social revolutions.




BACKGROUND 

Avatar: The Last Airbender and its sequel series The Legend of Korra is set in an ancient world heavily influenced by Chinese Mythology.  In this world the earth is divided into four different nation based upon the four natural elements (water, earth, fire and air). There is the Northern and Southern Water tribes, The Earth Kingdoms of Ba Singh Se and Omashu, The Fire Nation and The Air Nomads.  Each of these nations have a culture and rituals that is influenced by their totemic element. Additionally, some members of these nations are often born with the ability to manipulate their respective element. This behavior is called "bending".
        The titular "Avatar" is a single person in the whole world who can "bend" and master all four elements. Having a life cycle of 170 years, the Avatar acts as a spiritual leader, guide and general force for peace in the world (i.e. The Dali Lama). At the end of an Avatar's life they are reincarnated into the next nation in the “Avatar Cycle" (see above).This not only allows the Avatar to live on throughout history, the cycle of reincarnation allows the Avatar the ability to tap into the power of all her/his past lives at a single moment. This is called "The Avatar State".  



The show The Legend of Korra picks up 70 years after the end of the Airbender series with the training of the next Avatar in the cycle, a female water-bender named Korra. During the shows first two seasons there were questions about identity, and the use of identity politics to divide people. The second season balances out the Avatar’s role in the world as a bridge between the human and the spirit world. Just as in the first season where Korra quelled the tensions between benders (people who could manipulate the elements) and non-benders and then opened up the world to a greater spiritual change[1] by keeping the spirit portals open (after her battle with Unalaq and Vaatu) which allowed a chance for spirits and people to live together in harmony. Unfortunately, this action also directly lead to the unintentional release of dangerous criminals and their zealous leader, who in season three, creates such a disruption that it paves the way for a military dictatorship to take hold in its fourth and final season. Thus, it is the development and portrayal of the “villains/antagonists of The Legend of Korra that provides a lucrative allegory for social revolution.    



THE READ LOTUS: ANARCHY OR ANOMIE

 In the show’s opening we learn that Korra has been isolated from the world by a once secret society called “The Order of the White Lotus”. Originally, The Order of the White Lotus was a collection of fan favorite old masters in the original series who, by series end, had revealed themselves. In the finale, the order helped the previous avatar, Avatar Aang, in defeating Firelord Ozai and ending the 100 years’ war. Since that time, The White Lotus came out of hiding and openly supported the Avatar and when he was reincarnated into Korra, they were instrumental in her training and protection. It wasn’t until season three that we learn that there were some in the order that did not agree with the overall decision to expose themselves to the world. This division eventually led to the creation of a splinter group that called themselves “The Red Lotus”
The original leader of The Red Lotus was a White Lotus member by the name of Xai Bau. The original intention of the Red Lotus was to create balance between humans and spirits. To achieve that end, prior to the beginning of Korra, The Red Lotus attempted to kidnap Korra when she was a baby with the supposed intention to train her with each member of the Red Lotus being her masters and get her to release the dark spirit Vaatu [2] Having failed in this attempt, four members of the Red Lotus were captured and detained in specialized prisons for 13 years. During the time between seasons 2 and 3 the leader of this group Zaheer able to unlock air-bending abilities due to the energy released during harmonic convergence. Once he frees himself and his compatriots he sets in motion a plan to dismantle the four nations by assassination and ending the “Avatar Cycle” by murdering the Avatar while in the Avatar State.



 The idea of having nations and governments is as foolish as keeping the human and spirit realms separate.”- Zaheer

Many who have analyzed the actions of The Red Lotus during the events of season three are often quick to label this group not only as terrorists[3] but as anarchists. While this is technically true, The Red Lotus does seek a world without the systematic structure of various types of authority (the aforementioned four elemental nations’ governments and the Avatar); the show, and additional reading material available, often implies the term “chaos” to summarize the desires of the order.
Sociologically speaking, this is a conflation of terms between anarchy and Durkheim’s idea of anomie. The disorder that is created from a toppling of governments through the assassination of world leaders and religious icons does fit into the basic definition of anarchy. However, the description of that disorder as “chaos” does not fit. This is because, as Durkheim points out in his seminal text The Division of Labor in Society,  the lack of governments (and order) does not create complete chaos because there are still the unwritten social rules and norms that we learn, through the process of socialization, to abide by. Through this social learning process, we guide individuals into internalizing certain moral values and behaviors that make a society/social order possible. Therefore, it is feasible (and supported through historical evidence) that societies and its people can survive the death of authorities, ruling classes, and many other various changes to different social structures.  Yet, if the social norms were to also be disrupted, and there was no socially agreed upon set of rules/ behaviors along with no structure to help keep the peace; then that would be anomie. Anomie is a period of normlessness within a society causing a lack of social norms to governing behavior; thereby devolving into “chaos”. Since this is not their intention, they are not chaotic, but they are still anarchistic.



KUVIRA: WEBERIAN DICTATORSHIP

            It is through the uncertainty created by The Read Lotus in both the successful and attempted assassinations of political and religious leaders (the earth queen and Korra respectively) that allowed for the rise of an imperial dictatorship during the 3 year gap between Korra’s third and fourth seasons. During that time, Kuvira, an officer in the metal-bending army of Zao Fu was charged by the Republic City council to stabilize the Earth Kingdom from bandits and oversee the distribution of resources until a new ruler can be elected. However, throughout the season we quickly learn that rather than keep the peace, Kuvira has usurped power by strong arming independent states in order to unify the Earth Kingdom under her own solitary rule. The major conflict arises when Kuvira sets her sights on her home of Zao Fu and the Independent Republic City[4] which she views as occupied Earth Kingdom territory.
            Kuvira’s actions can be viewed sociologically through the work of Max Weber, particularly his work titled Economy and Society in which Weber discussed the issues of authorities. Weber points out that a certain type of authority will develop into a specific type of social structure. In the text, Weber outlines three types of authority that will develop into three different social structures.

Those three types of Authority are:

  •  Traditional Authority that is derived from bloodline, birth order or religion
  • Charismatic Authority that is derived from the power given to a particular person due to their ability to manipulate the populace and get them to relinquish their power
  • Bureaucratic/ Rational a type of authority that treats everyone the same (usually as mindless drones) and gives people access to power (even though that access is usually through some labyrinthine complex process more meant to confuse than help.


Traditional types of authority will lead to the development of a monarchy whereas a bureaucratic rational authority will lead to a bureaucracy. In line with these types, Kuvira in season four is identified as a Charismatic leader that, according to Weber, will create a dictatorship. In fact, many of her actions, organizations, and methods of control are modeled after several types of historic and contemporary dictatorships[5] However, Weber also mentions that many of these types of authority can also exist within other social structures without being the catalyst for a type of specific social structure. Many charismatic leaders have also existed without the development of a dictatorship because in a monarchy, republic, democracy or bureaucracy limits are put in place to curtail the potential power of solitary rulers. However, in Korra it was the power vacuum created by The Red Lotus that allowed Kuvira to amass power and thus change the social structure from a Monarchy to a Dictatorship.




ANTAGONISTS OF KORRA DESIRE REVOLUTION

            Revolutionary scholar Jack Goldstone in his book Revolutions: A Very Short Introduction identifies five conditions that make a society ripe for revolution

Those five conditions are:
-          Economic and fiscal strain
-          Alienation and opposition among the elites
-          Widespread anger and injustice
-          A persuasive shared narrative of resistance
-          Normal social mechanism are unlikely to work

Goldstone notes that is unlikely to have each one of these conditions happen at the same time. This is because a social structure is not a passive thing, it is actively influenced and manipulated by those in power or those who seek power. While these conditions may not cause a revolution, they create a state of what Goldstone calls unstable equilibrium. This is where a society is functioning due to various social conditions (see above), but one small disturbance leads to an even larger departure from the status quo. Gladstone mentions that the mechanism that causes this instability may not be a single event, instead it may be more gradual; happening over months or even years.

According to Goldstone, once this equilibrium is upset there are several structural causes of revolutions:
·         Demographic Change- when population grows rapidly the institutional social order can suffer in their (inability) to deal with resource distribution and structural social change
·         War- can weaken state authorities and empower groups within society
·         Rapid Unequal Technological Advancement – can be used against a populace and maintain control
·         New periods of exclusion, discrimination and inequality
·         The entrenchment of elected leaders or heads of Military regimes

These components are often the causes of frayed social relationships that may cause individuals to turn against the state and for state structures to crumble 

The overall plot of the The Legend of Korra can act as an illustration of these revolutionary themes put forth by Goldstone. If one was to look at the series as a whole, it was the unstable equilibrium created by Korra being the first Avatar that did not travel the world (and to all of the different nations) in order to learn to manipulate all of the elements. Instead, Korra was isolated and only trained by the White Lotus allowing them to shape her as they saw fit. The shift out of this unstable equilibrium happened when Korra decided to leave the South Pole and live in Republic City; setting off the events of the series and the several structural causes of revolution:

·         New periods of exclusion and discrimination
This aspect of Goldstone’s roadmap to revolution began in season 1 of Korra where Amon a revolutionary leader of a group known as the “Equalists” stoked tensions and discrimination between Benders and non-benders. In this season,  Korra, even though she is the ultimate apex bender, understands that she represents all people, bender and non-bender alike.



·         War
Korra is another illustration of Goldstone’s ideas through the Civil War arc between the Northern and Southern Water Tribe. This occupation and conflict continued throughout the latter half of season 2.[6] This splits loyalties and not only causes various amounts of disruption that disruption is felt on the physical and spiritual plain





·         Demographic Change
The demographic change that could lead to revolution as Goldstone mentions is the reemergence of air benders[7] and their attempt to be considered a nation during Season 3 of Korra. All of a sudden one of the main characters (Tenzin) becomes the defacto leader of group of people who may have airbending skills but are not enculturated to the nomadic existence of airbender culture. Additionally, the reemergence of the air benders included the unintended consequence of granting Zaheer, the leader of The Red Lotus Airbending a change that the authority of The White Lotus was not expecting which gave Zaheer an edge, contributing to his escape and the release of the other Red Lotus members.





·         The Entrenchment of Heads of Military regimes This is embodied in Kuvira and her actions throughout season 4, especially during the coronation of Prince Wu.





·         Rapid Unequal Technological Advancement This takes place when Kuvira invades Zao Fu  to steal their platinum in order to create a “unbendable” giant machine that she can control from the inside; tipping the technological balance in her favor. 



Thus, these are the very clear examples of how the antagonists of legend of Korra, and the development of Korra as a series is a meditation on the nature and creation of Revolutions; and what happens after; once the dust settles.



CONCLUSION
The Legend of Korra and its predecessor Avatar: The Last Airbender are socially conscious, feminist, environmentally friendly pieces of pop culture that are rich in sociological data and worthy of sociological analysis from many different perspectives. If you are interested in sociological ideas, or you are a sociologist yourself (I mean who else would read this blog if you aren’t at least sociology adjacent), I recommend the series whole heartedly and hope that other sociologists will write on the impact and brilliance of these shows. Remember the Sociology mantra: “Data is everywhere, and it is glorious.”


[1] Certainly, anyone focusing on the sociology of religion (not my particular specialty) could do a whooper of an article on the Interesting religious implications of Season 2 and the allegory of the importance of becoming more spiritually open as a person, especially as we age and question the things we were taught when we were young

[2] The Spirit Vaatu was a main antagonist in Season 2. During season 3 it is revealed that Korra’s uncle was a Red Lotus member who had joined the order so he would be able to set his plan in motion to become a “Dark Avatar”
[3] This term is only partially correct as it is unclear that the way that The Red Lotus uses violence or the threat of it is in order to create fear.  However, it seems one of their goals in to create intense social disruption which is in line with the basic definition of terrorism.
[4] which became independent of the Earth Kingdom during the time of Avatar Aang and a place where all people of all nations could live
[5] North Korea for example
[6] It is also important to note that the leader of the occupation and the start of the civil war was a former member of the Red L:otus
[7] Due to Korra’s choice to keep the portals open

Wednesday, December 21, 2016

The Machete Cut and the Diminishing Margin Utility of Star Wars



INTRODUCTION

            I grew up with Star Wars, and I loved it. However, my childhood love of Star Wars was very, very specific. At the time, I was not interested in Space, Planets, the rebellion, blasters, war or the overall scope of George Lucas’s Sci-Fi Opera.  My love of Star Wars as a child was derived from my love and passion for the martial arts.  Therefore the only thing that I found interesting in the whole Star Wars saga was the elements that connected it to the martial arts; meaning Jedi and the Sith (Samurai) The Force (Ki, and Zen philosophy), and lightsabers (Katanas).[1]
As I got older, I dug deep into the history and the background of Star Wars to keep this connection alive. I found out that the term Jedi was derived from the Japanese term Jidaigeki meaning “period piece” which for the Japanese usually meant a story involving Samurai. George Lucas was greatly influenced by the work of Akira Kurosawa (who was ironically, influenced by American Westerns), specifically The Hidden Fortress and Seven Samurai to the point that Lucas originally offered the role of Obi-Wan Kenobi to Tashiro Mifune a frequent collaborator with Kurosawa and whom some may call his muse.[2]



Additionally, I started getting interested Zen Buddhism and philosophy by initially hanging on the words of Jedi Master Yoda whom encouraged “No mindedness”, and Passive yet passionate embrace of the life energy (Ki) in the universe. I loved (and still love) these aspects of Star Wars. Yet, whenever I decide to sit down and watch any Star Wars film I find myself skipping to, or, only paying attention to those scenes. As I grew in my appreciation for film as a medium and a mechanism for storytelling, this dissecting cycle of only watching (what I consider to be) the best bits of the Star Wars films[3] seemed masochistic. Why was I holding on to these bits and pieces of a grander story, and why did I not feel overtaken by the phenomena that is Star Wars?  The answer has everything to do with context.

ANALYSIS  
 
     “ The Personal is also Political.”- C. Wright Mills

            Sociologically speaking (from a symbolic Interactionist point of view) everything is about context.  The reality that we live in and the “truths that we cling to” as Obi Wan would say, depend on our interpretation of a specific social, cultural and historical context.  In sort, the time period when I saw Star Wars, what was happening historically both in my life and in society at that time, impact the effect of the film and in what ways that it resonated with me.  
Not being born when Episode IV was released, and being too young to see the other two films in the original trilogy during their initial theatrical run, my first exposure to Star Wars was years later on home video. Therefore, by the time that I had seen the films, the hype fanfare and cultural impact of Star Wars had waned, migrating into geek pop culture of which, at the time I had yet to be inducted.
 Additionally, it is important to note that I initially saw the original Star Wars Trilogy in reverse order. I saw it in the order of VI, V, IV. Also, I watched episodes VI and V many more times than Episode IV, because we had a taped copy of Episodes V, and VI  but not of IV. I first saw A New Hope in a hospital recovering from surgery when I was 12, many years after repeatedly seeing the other two films.  Thus, I did not feel the fear for Han Solo as he was frozen in Carbonite, the peril of Luke Skywalker as he faced Vader on Bespin, or the surprise of the Anakin Skywalker/Darth Vader reveal.  Because of this, much of what is in A New Hope seemed cheaper to me than in the other two films; old and out dated when compared even to its immediate predecessors.  This became even more apparent when the Prequel trilogy was released.

THE PREQUEL TRILLOGY


News of the production of the prequel trilogy first reached my ears when I was in high school. Hearing about the production it seemed like a dream come true. I was promised more of the Star Wars aspects that I loved: More Jedi, More Sith, more of “the Force”, and more lightsabers! I became even more obsessed when one of my best friends[4] told me that in this prequel trilogy (that focused on the fall of Anakin Skywalker to the dark side and the rise of  Darth Vader) would show “the epic duel between Obi-Wan and Anakin” that ended, in his mind with Obi-Wan dismembering Anakin and throwing him in a lava pit.[5] This was also the first time that I realized (through my friend telling me) that Vader, being a quadruple amputee, was a Person with a disability. (PWD)[6]
Unfortunately, whenever Darth Vader is discussed in regards to disability, it is usually only in the context of representation (of people with disabilities in media) and it is usually negative ( his disability is used to represent his villainy)  rather than positive ( that he is a PWD that is feared and respected by all in the galaxy and has reached near the height of political and religious power ( being mythic and second in abilities only to The Emperor)[7]  Needless to say the promise  of the prequels excited me; the reality was far different.
The prequel trilogy spans my entire college career, from graduating high school through grad school. In that time, and given the socio-political context in which it became a piece of popular culture, I was able to engage with the prequel trilogy in a far different way than the original trilogy. Firstly, I saw this trilogy in the theater, in order of its release, which allowed me to be properly heightened by the narrative and not be spoiled. Secondly, I saw these films when I was just getting into Sociology as a discipline and the social analysis of popular culture. Because of this, I am an apologist of the prequels in one very specific way: aside from all of the problems around it THE PREQUEL TRILOGY IS GREAT STORY ABOUT THE RISE OF FASCISM  FROM DEMOCRACY THROUGH THE MECHANISM OF WAR.



Historical Context.[8]
 By the time the empire is established in 2005 at the end of Episode III: Revenge of the Sith,  politically we were already a few months into George W. Bush’s second term. The War on Terror was in full swing as was the War in Iraq. So, seeing a political figure concentrate power in his executive office[9] by throwing us into a false war, was pertinent at the time. Though, Lucas said that the idea for the story, written decades before George W. Bush took office, was more reminiscent of Julius Cesar than the politics of the day. However, this fact has done little to stop the apt comparison between Vader/ Palpatine and Bush/ Cheney. Ironically, this comparison is often on a sliding scale, as these same comparisons are currently being made with the Trump Administration[10]



Biographical Context

    I saw Episode I: The Phantom Menace on midnight at my local Cineplex.[11]Due to the heightened situation I was in, and the effect of emotional contagion of the rest of the fans in the screening we walked away having enjoyed the film.  Yet, as the power of the experience waned, I began to see the enormous flaws with the film[12]. As the number of flaws I found grew, kept going back to the things that I loved about Star Wars and focused on what the film did give me: More Jedi, and more dynamic lightsaber duals.  With this understanding of exactly what I wanted from a Star Wars film, paltry as it was, it effectively lowered my expectations for Episodes II and III. I looked passed plot holes, wooden dialogue and acting, lack of chemistry between leads, and even more sexism and racism. I blocked all of it out, and focused on the multitude of lightsaber duels, especially the ones involving Yoda, Palpatine, Mace Windu, Dooku, and the fabled Anakin vs. Obi-Wan. Soon, whenever I went back to any of the Star Wars (including the original trilogy) I would find myself skipping around and only watching scenes that were about the force, or those that involved a lightsaber duel…and nothing else.  That means that the six film- 13+ hour story, for me, can be reduced to about 60 min.[13]



THE MACHETE CUT

Recently, in preparation for Rogue One: A Star Wars Story I wanted to go back and watch the preceding films (Episodes I II and III), however I did not want it to turn into me just skipping around to the bits and pieces that I liked. It was then that a colleague of mine (and fellow geek) told me about the machete cut, otherwise known as “The Machete Order” which is a viewing order for the first 6 films in the Star Wars saga that, according to him, and compelling.  In short, he and others are correct.
The Machete Order of the first two completed trilogies connects the “best” parts of the Star Wars story and jettisons the rest. The order (which is Episodes IV, V, II, III, and VI) retains the mystery and cliff hanging reveal of Luke Skywalker’s parentage, while maintaining continuity with the (now canonical) special editions of the original trilogy (i.e. Hayden Christiansen showing up at the end of Return of the Jedi) while fixing the errors in continuity by eliminating the need for Episode I.
The creator of The Machete Order surmises (correctly in my view) that Episode I: The Phantom Menace is meaningless to the overall story. Nothing that happens in Episode I is impactful in the overall arc of either Anakin or Luke Skywalker, not to mention that the ten year gap (in story) between Episode I and Episode II requires a large amount or reorientation anyway. Plus without Episode I,  there are no mention of Midi-chlorians, boring pod races, and an Unnecessary Sith, that has no impact on the story (unlike Christopher Lee’s Count Dooku).
In the Machete order, we get the danger of the empire and then after the end of Episode V, when our heroes are at their lowest point, we flash back to see how the Universe got to its current state. With all of the teases in Empire fresh in our heads from “I am your Father,” and “For 500 years did I train Jedi.  Once a council did I keep on who was to be trained.” to “That boy was our last hope.” “No, there is another.” watching Episodes II and III directly after that capitalizes on those teases in a more satisfying way that watching it in either Episode Order( I-VI ) or Release Order (IV, V, VI, I, II, III). However, even with the Machete order, I found it difficult to get through several parts of each film (aside from Empire, I will concede that Episode V, is a good film), I began to question whether or not The Star Wars Saga is really any good at all.


THE MARGIN OF DIMINISHED UTILITY

          The margin of diminished utility is an economic term to explain that with the continued consumption of a particular product, the greater the since of dissatisfaction one has with that product as a result.  An easy analogy is that of drug addicts, the more drugs they consume the less likely they will achieve the same high.  Though many might have a better association with the common phrase “Too much of a good thing.”. With each new Star Wars film we get, it seems to reorient out perception of the previous films. Sometimes, to fill in gaps, and other times to address criticism decades after the film’s release.[14] In the wake of this perception shift is often novelty, mystery, and in some cases actor performances, are sacrificed all in the name of continuity.  To that end, the newer iterations of Star Wars (especially since being purchased by Disney) spoon feed the audience colorful forms of childhood Nostalgia that, when it wears off or is wiped away, reveals an unoriginal story that is not only boring but not well crafted.  There are several examples of this.


     Exhibit A: The Prequels

            Outside of my unique perspective on the prequels, the majority of the Star Wars fans (not necessarily those in the mainstream) hate the prequels to the point that many of them do not consider them cannon.  In their mind, what George Lucas did was tantamount to murdering their childhood.  Yet, as indicated above, the reason many people hate the prequels is because of the way it changes our understanding of the original trilogy, mainly it weakens the badass all powerful villain of Vader, to nothing more than a whiney, petulant child that has such an ego that he never learned to accept loss to became a control freak. Through the Prequels, all of Vader’s menace evaporates, and he becomes pitiful.
            We must remember the importance of biographical context. The point at which you are exposed to Star Wars, in your life makes all the difference.  Many people who love the original trilogy as something sacrosanct often saw it when they were a kid, and the film informed on their sense of self.  You are obviously not going to get that same experience when you watch a film that is for children in your 20’s or 30’s; that is, unless they give you the exact same film (more on that later). In fact many people that saw the prequel trilogy when they were children or (gasp) saw the prequels first have a much more favorable opinion of them.      
         


          Exhibit B: The Original Trilogy

            If you take away nostalgia, and the biographical context of most audience members, what they may find is that most of the original trilogy is not very good.  Many characters aren’t fleshed out, or they are tropes[15]; it is full of poorly written dialogue delivered by many individuals that can barely act.[16] Yet, many of us want to retain these childhood memories of Star Wars, preferring instead to rely on our memory (which is suspect) rather than the sobering reality that Star Wars is a better pop cultural phenomena than they are films.
            The pop cultural impact of Star Wars cannot be denied. It is beyond itself. However, the idea of Star Wars, its merchandizing and its spectacle get muddled with the quality of the actual film. Whether this is caused by  mob mentality or group think, or something in the water, Star Wars soon to be retitled Episode IV due to its success, became something bigger than the low budget independent film it was intended to be.
The major part of the Star Wars phenomena, is not, as I have stated, because of the groundbreaking, or interesting story that the film tells. George Lucas by his own account is not a good storyteller[17] Instead, the genius of Lucas is his business acumen and his willingness to experiment. This desire for experimentation however can be a double-edged sword. On one hand, it lead to the innovation of Star Wars’s visual effects at the time of its release (allowing the trilogy to continue). On the other hand, this drive of innovation caused him to also come under fire (from fans) once he released the special editions in the mid 1990’s with new VFX shots and added content[18].



Exhibit C: Episode VII: The Force Awakens

            One of the best examples of the problem with the continuing Star Wars Saga in relation to the margin of diminished utility is Episode VII: The Force Awakens. Before I become too overly critical, I have to say I commend Disney in their ads campaigns as they sharply leaned into the desired Nostalgia in a fully committed way.  Even though, as stated, I have a complicated relationship with Star Wars, I was all in for this film[19] I was swept away by the marketing, tearing up as I saw Han Solo on the Millennium Falcon saying “Chewie, we’re home.” in the final seconds of the first trailer.  I was so enthralled by the second trailer that I was a part of the group that crashed the internet trying to buy tickets. Disney had me, and I knew it. I was still enthralled during the opening fanfare, and the opening crawl. I embraced and was ecstatic about the increased amounts of diverse representation of people of color and women that were finally added to the story. However, as the story progressed, I slowly realize that I had been duped.
            I Hate Episode VII: The Force Awakens.  I hate it for the following reasons. Firstly, before its release, Disney eliminated the expanded universe in order to have complete control of the story moving forward. While I understand this from a business perspective, it eliminates years of work of many creative people and frankly, sounds like something the Empire would do.  Secondly, this film is a remake masking as a sequel.[20] It is a reshuffling of the plot and characters of a New Hope. BB-8 is R2, Rey is Luke,  Kylo is Vader, Poe is Han, and Han is Obi-Wan. There is a “Super” Death Star, and the Mcguffin is Luke Skywalker. Thus, outside of the nostalgia of seeing these characters again, the film is boring, predictable and overall lazy filmmaking. Thirdly, they killed Han.[21]
            Even though this film made over 2 billion dollars, there is a danger in relying on nostalgia as it can lead people to be complacent and malleable to antiquated ideas, which can have disastrous consequences. Yet, it seems with similar films being released around or just after  The Force Awakens, and the fact that these films make billions of dollars it is clear this requel trend is here to stay, and that The Star Wars Saga will not be ending anytime soon.

CONCLUSION

 Simply, the more Star Wars we get, the less satisfied we become.  As the Star Wars story continues into infinity it is the new thing, the fresh thing that will be embraced, as long as it makes us long for the past. Each new expanding or continuing story will reshape how we see all of the previous films.  In this cathartic process of writing about Star Wars I have come to the uncomfortable realization that I do not like the story of  Star Wars  that much. There are many other similar stories told by true auteurs, providing a more satisfying, sometimes self-contained, story that The Star Wars Saga has not achieved. I will however always embrace the pop cultural flavor of Star Wars through the movies and other merchandising material. The importance of the Jedi, Darth Vader and the concept of “the force” still informs me as a person. Therefore, I will always have investment in anything that begins “A long time ago, in a galaxy far far way…  



[1] This was my first experience of the merging of two interests: my love of Sci-Fi and of the martial arts. After watching each film I would annoyingly beg my father to duel me with a pair of plastic swords
[3] At least the original trilogy
[4] To this day, whom read a lot of the expanded Universe that has since become non-canonical
[5] Upon hearing this I had instantly created a “head cannon” where the dismemberment of Anakin happened periodically throughout the duel. I envisioned Anakin fighting with only one arm for a time only to ceremoniously end up on some scaffolding above the open mouth of an active volcano as Obi-Wan finally takes out Anakin’s legs that sends him tumbling over the side and into lava.
[6] Thus began my love affair with Darth Vader, that has grown far beyond the films.  Yes, Darth Vader has become an iconic piece of pop culture outside of the Star Wars Saga, but as a person with a disability myself, I see Darth Vader as a champion of the disability community.
[7] The Next Character profile I will do will be on Darth Vader.
[9] Which Palpatine was able to do by Manipulating Jar Jar Binks into granting him “emergency powers” In Episode II: Attack of the Clones
[11] As the story goes, it was the Friday of the premiere in May 1999. I was working on a rough draft of a paper that wasn’t due for another 4 weeks.  My mother, thinking that I was working too hard, called two of my friends to come and “get” me.  They came to the front door; my mother opened it “He’s in his room.” I heard from behind my closed door. Suddenly, my bedroom door flung open. “You’re coming with us to Episode 1.!” My friend shouted “ No!” I cried and a wrestling match ensued.  It concluded with my friend putting me in a back bear hug while the other grabbed my feet and together they carried me down the stairs and out the door (which was being held by my mother) they thanked my mother as we passed and they placed me in the back seat of the car, and took me to the movie.
[12] Midi-clorians, pod racing, Jake Loyd, weird puppet Yoda, stinted dialogue, poor story construction that was a rehash of the original trilogy, not to mention the copious amounts of Racism and Sexism throughout all seven films.
[14] A practice that Rogue One seems to be continuing
[15] Luke Skywalker, Obi Wan Kenobi
[16] This is excluding Alec Guinness and Peter Cushing
[17] Heck, in a video embedded above, Lucas basically reveals that he stole a lot from Kurosawa (even attempting to steal his main actor)
[18] The Most outrageous change he made, that actually effected the arc of a main character was having Greedo Shoot at Han first rather than Han shooting first
[19] Going so far as to buy advanced tickets and waiting in line for hours to get a proper seat for me and my friends
[20] This has become so blatant in Hollywood that it has spawned a new term “Requel”
[21] I understand the irony of this statement as I have railed against Nostalgia