star wars | Compromise and Conceit

April 1, 2024

Post-poverty SF: Some Reflections on the Vast Inequality in the Star Wars Universe

Posted by faustusnotes under game reports, Gaming material, Metashit, Movies, RPG cosmology, RPG Systems, Science Fiction, Space Opera | Tags: books, movies, return of the jedi, sci-fi, star wars, stars in my pocket like grains of sand |
Leave a Comment

I have been playing Star Wars recently with my regular group, first using the Genesys rules and (since yesterday) using a port of the Coriolis rules, because we’re all sick of Genesys. The Star Wars universe is fun and, like D&D or Lord of the Rings, has that particular positive quality that you can settle into it without knowing anything about it – it just feels familiar. Plus, running around on missions for the Hutts is fun, what could go wrong? However, it is beginning to feel like the Star Wars universe suffers the same problem I have identified with the Harry Potter universe – it is fine so long as it is kept within a very specific and narrow narrative framework but once you try exploring it freely as an adult outside its original confines it falls apart fast. I want to try examining how in particular the Star Wars universe is weird, first from the perspective of the weird inconsistencies in the amount of energy available to its denizens, then through a discussion of how we should interpret the inequality of the rim relative to the core in light of these calculations and what we know of its history, and then through some specific examples of how this affects e.g. energy weapons and the existence and behavior of Hutt space.

How Many Dyson Spheres do You Need?

First let’s do some energy and energy density calculations, and introduce some reference values, by way of setting the context[1]. First, from this Forbes article (?) we can establish that the amount of energy required to destroy a planet like Alderaan is about 2e32 Joules[2]. That is, 2×10^32 Joules. Some quick online searches tell me that the sun outputs 4×10^26 Joules. So the Death Star is, to all intents and purposes, a Dyson Sphere wrapped around an artificially-created star, and because we know from the three original movies what the time frames are, it takes the Empire about 3 years to build one.

From a random and quite wild blog post we can estimate the death star to have a mass of about 2e18 kg, meaning that it has an energy density of an astounding 10^14 Joules per kg, if the whole thing was a giant battery. We will return to this information a little later. Here are some other random bits of information about energy:

The population of the earth consumes about 2×10^20 Joules of energy per year, meaning that if we assume most of that energy is consumed by 100 million rich people, the average energy consumption of the richest societies on earth is about 10^12 Joules in one year
If we assume an X-wing fighter weighs about 20tons, the energy required to accelerate this thing to 10000 x the speed of light (10k C) in one second would be about 10^4x3x10^8x2x10^4 (using energy required as mass times the final speed obtained, i.e. the change in momentum) which is, essentially 6×10^16, let’s say 10^17 Joules
Apparently a star destroyer weighs 40 million tons, which means it would take 10^20 Joules to get to the same speed[3]
A typical nuclear reactor produces a GW of power, which is 10^9 Joules
The original steam engine, the Watt engine, invented 250 years ago, generates 6 horsepower or about 4200 Joules, 4×10^3 Joules. So over 250 years we have improved our energy generation capacity by a factor of a million. But note that nobody in the modern world uses a Watt Engine to do anything!
A modern LIthium-ion battery has an energy density of about 750000 Joules, that is 7.5×10^5 Joules.
A lead-acid car battery has an energy density of about 150000 Joules, which is 1.5×10^5 Joules. I think this means that energy technology has developed much more slowly than energy generation – let’s say at the ln() of the rate of energy generation[4]
The Star Wars galaxy has a population of one hundred quadrillion sentient beings (10^17 people) over 1 billion (10^9) planets. I call bullshit on the latter number, since I’ve seen the map, but let’s go with it
A typical nuclear reactor has a 30-70% energy efficiency, with the rest of the power escaping as waste heat. If this profile applied to the Death Star it would be as hot as the sun, so we have to assume that it has almost perfect efficiency in power generation

So let’s look at how some of those numbers work out. Dividing the energy in the Death Star by the population of the galaxy, we find that every time the Death Star is fired it generates enough energy to enable everyone in the galaxy to have a standard of living 1000 times better than the richest people on earth. During the battle of Yavin the Death Star was fired multiple times. Just to be clear I’m going to put this in quotes:

Every time the Death Star is fired it uses enough energy to maintain the entire sentient population of the galaxy at the standard of living of the richest people on earth for a millenium

So over the 3 years of the original 3 movies the Empire generated and wasted enough energy to maintain the entire population of the galaxy for about five aeons. By way of contrast, the Republic presided over an era of peace for a thousand years.

That’s a lot of energy! Another way to think of this is to imagine that the Death Star has an energy system that is 99.9999999% efficient, that is only 0.0000001% of the energy generated is lost during the firing process. This is obviously necessary, to ensure that the waste heat generated is orders of magnitude less than the temperature of the sun. That number is 10^-8%, or as a decimal, 10^-10. If an enterprising engineer on the Death Star noted this waste, they might be able to tap it, and would thus be able to drain off 10^22 Joules of energy – enough energy to maintain their home planet’s population for 100 years if their planet was as populous as earth. This is very similar to the situation in Harry Potter, where the magical world’s rubbish is valuable enough to muggles that they can use that rubbish to change their entire lives.

Another way to think about the energy differentials involved here is to contemplate the scale of energy required from an X-wing to a star destroyer to the Death Star: we go from 10^16 J for the X-Wing through 10^20 J for the Star Destroyer to 10^32 J for the Death Star, a factor of 10^16. Compare with the ratio of energy generation from the nuclear reactor to the Watt Engine, of 10^6. We are seeing people living in and working with devices with energy density that is so far below that of the peak technology that it is as if people living on earth were using windmills to power every aspect of their lives, as if every day we saw Watt Engines alongside nuclear reactors – but three orders of magnitude greater in difference. More like if there were people living in urban Tokyo who could barely produce fire, while the rest of us cruise by in nuclear-powered cars.

Post-poverty Science Fiction

The implication of this is first and foremost that the Star Wars galaxy has levels of inequality that are staggering by even the worst standards of earth. Every three years the society of Star Wars is able to build a Dyson Sphere wrapped around an artificial sun, and fly it almost instantly to anywhere in the galaxy, where they can casually blow off enough energy to maintain the entire population of the galaxy at elite standards of living for a millenium, but Luke’s Uncle Owen is struggling to get by on Tatooine as a moisture farmer, pawning broken-down droids off of passing Jawa who live in conditions little better than those of a 19th-century gypsy. Tatooine isn’t the only planet where we see this poverty: the forest-moon of Endor, the planet where we first meet Rei, Jah-Jah Binks’s planet, and pretty much every planet we see in Star Wars is living in conditions little better than or a lot worse than a typical rural area in 1970s earth. In a sense this is similar to how there are people in rural Nigeria who have modern smartphones and a TV but no access to modern health care and unreliable electricity. But the difference is that those of us in the Imperial core on earth do not have access to energy sources 10^16 times better than those people living in Nigeria. In fact the World Population Review suggests a maximum of eight-fold difference in energy use between poorest and richest regions (though it has limited data on Africa). The inequality in the Star Wars universe is staggering, so great that is essentially unmeasurable with any meaningful metric.

And it’s not like this is the fault of the Empire, either. We don’t see any evidence anywhere in the first movie that Tatooine is a once-great, super-rich society reduced to poverty by Imperial neglect or mistreatment – in fact in that movie the Empire has only been around a couple of years (a decade?) and the Republic “presided over a thousand years of peace.” All that inequality and ruin on the edge of the empire is the fault of the Republic, and nothing is presented anywhere to suggest otherwise. Now it could be argued that the Empire has been wastefully using resources on building mobile Dyson Spheres for war, which fair enough, but why wasn’t the Republic investing in these backwaters?

They deserved to be overthrown, didn’t they?

How small can a blaster be?

This also has consequences for in-game mechanics, which could be interesting or alarming depending on how you approach the fantastic scale of energy generation in the galaxy. While converting our system to Coriolis rules we have been discussing the damage blasters do, and trying to distinguish between blaster pistols and blaster rifles – Coriolis and Genesys both have low damage settings, which makes it difficult to easily distinguish weapons from one another since a sword might do 2 damage and a dagger 1. But I noticed, based on the scale of these energy values, that the ridiculous energy densities of the machines in the universe suggest that any blaster of any size would contain so much energy that it could effectively disintegrate a human being with a single shot, and the form and function of any blaster pistol or rifle in the universe is essentially aesthetic. Consider the X-wing, which weighs 20,000 kg and can generate 10^16J of energy. That’s 10^12J per kg, and much higher if you look at just the engines. Or a light saber, which can run forever on a battery the size of the palm of your hand with enough energy to cut through steel or humans. There’s no reason to suppose that a blaster pistol and a blaster rifle would have any noticeable difference in damage from each other. The battery required to provide essentially infinite shots of plasma capable of eviscerating a human would probably weigh a gram in the Star Wars galaxy. It’s entirely possible that a blaster rifle that actually had the Cumbersome-3 quality would have enough energy to collapse skyscrapers. I suggested we price blaster pistols and blaster rifles only by damage done, and that the difference between them was that the greater stability of a rifle configuration allows it to fire at longer range and to use the aim action. If we don’t do that then we are essentially working in a setting where our weapons are the equivalent of police in our own world carrying nothing more effective than pebbles, to fight gangsters driving tanks. If you look even superficially at the energies involved in the Star Wars universe you start to notice a lot of things are wrong!

How much effort is too little?

This stupendous inequality also has implications for the entire concept of Hutt space. In the original movies we don’t see any background information about the Hutts, except to know that Jabba is a notorious gangster lording it over at least one section of a backwater desert planet. But in the games (and I assume the broader canon) Hutt space is a sprawling zone of the galaxy that covers a pretty big wedge of the galaxy and spills over onto at least one major trade route (the Corellan route). This is an area that is supposedly only nominally under Imperial control, a situation that existed before the Empire, and is controlled by competing clans of Hutts who are essentially gangsters, who the Empire attempts to cooperate with but has been “unable” or “unwilling” to completely dominate.

But why? Why would an empire that can build two Dyson spheres in three years give a flying fuck what the Hutts think? Why would an empire that can mobilize soldiers from a population of a hundred quadrillion people, deliver them anywhere in the blink of an eye with spaceships that can generate more energy than most planetary economies, let this happen? One of my fellow players suggested that this is because controlling the Hutts is “too much effort”. But what is “too much effort” to a society that can fire off a millenium of luxury energy in a second, an economy so powerful that the waste energy from one of its flagships could fuel the industrial revolutions of a thousand planets? What, they get tired? It would take them a week to invest every planetary HQ of every Hutt clan, and when the leaders had all fled to Nal Shaddaa it would be the work of a couple of minutes to rock up and vapourize all of them. Or, if your Death Star is out of commission, you blockade that planet and wait 3 years to build another one, then rock up and vapourize them.

The mere thought or conception of rebellion is not even possible in a galaxy where your leaders can rock up with a Death Star on a moment’s notice. It’s not like ancient Rome where you get warning that the bastards are coming months ahead, as they cross rivers and ride over mountains. They just turn up, a couple of minutes or hours or days after they left their last system, riding on a Dyson Sphere wrapped around a star that they built, and you have precisely five seconds to pledge your allegiance, hand over the traitors or get turned to cosmic dust. And all you have in reply is the galactic equivalent of a pen knife.

Another argument for the Hutts is that the resources they ship to the empire in exchange for their nominal independence are a reward in and of themselves, but this makes no sense in a galaxy where you can build a Dyson Sphere wrapped around an artificial star, that is a weapon. Who is going to deny you anything? And what could you possibly need? The answer of course is Kyber crystals (which are apparently needed for your artificial stars) but what is an easier way to get them? Collaborating with a large criminal network, or rolling out so much energy and luxury goods that the entire galaxy is 100 million times better off than it was just 3 years ago, and everyone is happy to go along with your plans? If they stopped building star destroyers and Death Stars for just one year they would have so much energy that everyone in the galaxy could live in luxury like the Hutts. Who would be a gangster then? It’s inconceivable that the Hutts have anything the Empire would want that they cannot buy or take.

SF’s imaginary failures

It’s very easy when you are developing visions for new worlds to have them be incoherent and inconsistent on closer inspection. Almost all of them are. But it’s very interesting to me when they are incoherent in a way that suggests either that the fundamental social structure of the world is evil, as in Harry Potter, or the game designers really didn’t know much about how the real world works, as in Feng Shui. In this case the broader Star Wars universe seems to reflect both of these properties – I feel like people who understood how the real world works might have noticed the massive inequalities in their imagined world, and I also think they should have noticed that almost all of the social problems we see in the Star Wars galaxy are the Republic’s fault. Apparently George Lucas envisioned the rebellion as the Vietnamese and the Empire as the USA, but I think that’s a flawed vision since the rebellion is happening within the Empire, while the Vietnam war happened outside it (say what you want about the USA’s many bad geo-political practices, but Vietnam was not part of US territory before they started the war). And the inequality between the USA and Vietnam in the 1960s was not in the same order as the inequality between, say, Tatooine (not part of the rebellion!) and Coruscant in the Star Wars galaxy. In fact I would guess that the inequality between the life of a Roman Patrician and the poorest heathen resident of Britannia just by Hadrian’s Wall would have been smaller than the gap between Admiral Ozzel and Luke Skywalker. George Lucas didn’t have to think about this much, just as he didn’t have to waste much time on the structure of Hutt space, because we just got glimpses of all this stuff, fragmentary visions of a world of good and evil laid out before us as we romped through it. Was Jabba the Hutt even a planetary-level gang boss? Who knows! But once you develop the extended universe you have to figure this out, you have to systematize these ideas. I personally think it would have been much better to have the Hutts not be gangsters overall, not have a concept of Hutt space, and have Jabba the Hutt be a unique gangster in command of a single planet’s underworld, as others of other races are in other isolated parts of the edge of the empire. But no amount of careful world-building can overcome the enormous, staggering inequality at the heart of the galaxy, because it’s there in the original canon.

Better examples of how to handle these problems are shown by Iain M. Banks’s Culture series, or in Firefly. In the Culture series we see a society that might be capable of building a Dyson Sphere (they probably would consider it too trashy a thing to bother with), but they don’t hoard the tech – they distribute all energy and wealth freely to whoever wants it, and nobody lacks for anything except by choice. This is the only logical endpoint for a society that has so much spare energy floating around that it can build its own stars and wrap a Dyson Sphere around them every 3 years[5]. There’s no rebellion from within the Culture because nobody needs anything from anyone, there is no inequality or even money. It’s luxury space communism!

In contrast, Firefly also takes place on the edge of the empire, in outlying colonies living in grinding poverty, lawless planets and systems where gangsters control the lives of poor and desperate people while the elites in the centre look the other way or send punitive expeditions to meddle in the lives of these people on the edge who they see as trouble-makers and scoundrels. But the society of Firefly doesn’t have infinite resources, can’t build Dyson Spheres, doesn’t have the power to blow up planets, in fact can’t even properly run a randomized clinical trial of a happiness drug. There is still inequality but it is believable in its magnitude, exists for explicitly social reasons and is the central friction driving the plot. In contrast, in Star Wars we never really find out why there is a rebellion. They don’t like the Empire, something about freedom etc, but we don’t see anything about the material or political structures underlying this rebellion. All we know is that the location of the secret rebel base is in the hands of a Princess. It kind of stands to reason that there would be staggering inequality in a Republic run by Princesses, doesn’t it? But we don’t get to ask any of those questions.

To be clear, it’s fine to me that this happens in the original three movies, I’m down with the Rebellion as soon as the show starts and I don’t need any motivation to be on Luke’s side, I know how to watch a movie. Blowing up Alderaan confirms for me that the Empire are the bad guys, even though I don’t know what the Republic did to people. That’s okay in the movies, but now my character Dita Voss is doing these jobs for the Hutts and I’m having to figure out why in this galaxy we even have Hutts and gangsters and human trafficking and poverty and contract workers in the shadow of a Dyson Sphere. Once I start exploring the broader galaxy of the expanded universe, and thinking about things like how smuggling works, why the Hutts run this system, why these planets are so poor, who I should really be trying to kill, I begin to run into big inconsistencies in the way it’s all laid out. And given the recency of the Empire, and the obvious persistence of these problems, I am starting to think I need to look further back in time to find someone to blame. And Dita Voss is starting to wonder if there is a Quelchrist Falconer she can turn to, who might have a better plan for the future, in which the Death Stars get turned on all the ruling houses, then melted down into ploughshares.

We will need something, after all, to plough all that blood and bone into the soil of our new utopia, once those distant star lords have been dragged out of their towers of infinite energy and down into the dust beside us.

fn1: A word of warning, it has been 30 years since I studied thermodynamics and electromagnetism so I may confuse some measures of total energy and flow of energy. Be patient with me!

fn2: I think that article suggests we can lower the amount if we assume it uses the planets gravitational dynamics against it, but this is inconsistent with the use of the Death Star’s main weapon in Return of the Jedi to blow up spaceships, which have no meaningful gravitational effects.

fn3: Here I’m assuming no special amount of energy required to break the light barrier or do the weird physics of hyperspeed, and assuming that the punch to light speed takes about a second. I chose 10,000 so that an X-wing can travel about 10 light years in half a day, which is consistent with the amount of time it took the pilots in Episode IV to get to the Death Star from their rebel base. An alternative method is to imagine that the hyperdrive converts their mass to energy and then transfers it, in which case the formula would be mass x 10^16 (E=mc^2, a formula originally identified by Chewbacca); in that case an X-wing requires 10^20 J and a star destroyer 10^24. But note if this is the case that the Death Star would require ~10^34 Joules to enter hyperspeed, which is more than is required to blow up Alderaan and is the energy of 100 million suns. I can’t abide those numbers! But feel free to update the wildness of this post with higher figures for hyperspeed if you want.

fn4: You could argue that this is unreasonable since batteries didn’t exist when the Watt Engine was invented, and that in a galaxy a long way away and a long time ago they just have different battery tech. The light saber certainly seems to suggest so

fn5: And remember, once you’ve built one of these bastards the next one is easier. You now have the energy of a million suns at your disposal in one mobile platform that moves faster than the speed of light, you can do anything, build anything. Need resources? Rock up to an inhabitable planet and turn it to rocks, then send in the mining drones …

July 8, 2023

Star Wars Character: Dita Voss, Sole Survivor of the Numenorean Argosy

Posted by faustusnotes under Game planning, Science Fiction, Space Opera | Tags: star wars, stars in my pocket like grains of sand |
Leave a Comment

Dita Voss was born and raised in the Numenorean Argosy, a large fleet of ships that moved through the galaxy as a caravan, centred around the ancient behemoth called the Numenor. The Argosy was composed of thousands of ships, ranging in size from single-family yachts to kilometre-long hospital ships and resource barges. They traveled approximately together, though at any time a small portion of their number would be away on trade missions separate from the main body of the fleet. The Argosy was in part a self-contained economic entity, its member ships providing services to and producing goods for each other, but its primary means of external trade was the provision of mechanical and computer services to the myriad small, independent starbases, mining colonies and space stations of the galaxy. The Argosy had accreted slowly over thousands of years, and amongst the crumbling engine rooms and cockpits of its ancient ships the fleet held knowledge and expertise on almost every technical system that had ever been used in the galaxy, as well as starmaps detailing the location and complement of mining stations, gas harvesters, deep space research bases and colonies that had been established so long ago that knowledge of their construction methods, components and sometimes even coordinates had been long lost to the majority of the galaxy’s settled societies. The arrival of the Argosy at one of these legacy structures led to an orgy of trade and renewal, as technicians on the bases seized the opportunity to gain access to old blueprints, fashion spare parts for systems that had been held together by jury-rigged components for generations, and restart auxiliary (or sometimes essential) computer and life support systems that had long since been given up for dead. Sometimes they would pay the Argosy to take one of their young onboard as an apprentice, who would travel the galaxy for a decade training in mechanics or computing or electronics, to return to their home base years later with a deep and enduring knowledge of everything that could go wrong in even the most obscure of systems. Droids that had been shutdown for centuries would be repaired and restarted, their long lost knowledge returned to colonies and mining stations, and data storage systems whose access mechanisms had long since ceased working would be turned over to the Argosy, passed from hand to hand through ever-older ships until somewhere someone found a lovingly-maintained device that could read the lost data and return it to its owners. Sometimes a colony that had regressed to almost stone-age technology would have a memory of the last visit of the Argosy, centuries or millenia earlier, a cave painting or a religious fresco, and its return would be the opportunity for the renewal of a society, the overthrow of tyrants, the start of a new renaissance.

Such was the vital role of the Numenorean Argosy at the Edge of the Empire, until the Empire realized its value and completely eradicated every single living member of its polity.

Everyone, that is, except Dita Voss.

Dita Voss

Dita Voss was planetside when the Empire struck the only home she had ever known, helping an obscure religious order to retrieve data from a servitor droid that had crashed an eon earlier, taking with it precious fragments of their religious knowledge. Above her the Imperial SPIDER Unit tore through the myriad ships of the Argosy, destroying any who opposed it and rooting out every byte of information they could, while she worked quietly and earnestly in the chilly crypt of the ancient order’s long-abandoned hilltop shrine, patching together systems that were so old even the language of their manuals was a barely-remembered legend. In galactic terminology Dita is a slicer, someone who can work with computer systems – programming them, breaking into them, subverting them and hacking them to make them do her bidding. She had been trained for years in the manifold computer networks of the relic sites on the empire’s rim, helping to disable rogue defense systems for their owners, reworking neglected mainframes for a new era of information, and sometimes helping mining communities to establish secure uplinks that were protected from spying by big corporations or imperial agents. But she had never been trained in anything except the rudiments of combat, and so when she emerged from the dusty cold of the underground chambers to witness the remains of her ancestral home tumbling flaming from the sky, there was nothing she could do to help. She could only watch in stunned disbelief as the Empire destroyed what, for slicers and mechanics across the galaxy, was the greatest library of knowledge that had ever existed.

The order hid her in their crypts, and kept her identity and location secret when imperial troops came looking for any survivors of the carnage. Fortunately for Dita, her contracted task had been entirely communicated by word of mouth between herself, her grandmother and the order, and there was no record of her presence on the planet. Her grandmother had died in the first assault, the secret of Dita’s mission dying with her, and so she was able to hide and emerge safe from the destruction of the Argosy. The order gave her a little money, an ancient slugthrower, some stun grenades the imperial agents “misplaced”, and some basic survival gear, and helped her to hide until the SPIDER unit was gone. In exchange she promised them that she would exact her revenge, and somehow recover all the knowledge she could that had been taken from the Argosy.

With just this obligation – this oath of revenge – to sustain her, carrying everything she owned on her back, Dita Voss set out into the world, determined to right a great wrong, and to restore the legacy of the Argosy. Dita is young though, and inexperienced in the ways of the world – she will need a team to join if she is to make her way. Once carefree and lighthearted, she is now burdened with the loss of her family and community, and carries this great tragedy with her. Nonetheless she is young, and she remains cheerful and optimistic in the pursuit of her ordinary daily life. She loves all things technical, and never backs down from a challenge, believing she has never met a computer she could not overcome. Now, though, what was once an aimless and joyous pursuit of technological skill for its own sake has become a finely-honed weapon against the Empire, a mission to find and restore the lost knowledge of the Argosy, and to wreak revenge on everyone who was involved in its destruction. Give her a ship, a team and a chance, and she will change the galaxy!

Illustrator note: The top image is by The UncannyKen on DeviantArt. The second picture is from the Coriolis Last Cyclade book

December 30, 2019

The Rise of Skywalker: Time to Bury this Travesty of a Once-Great Saga

Posted by faustusnotes under Movies, Nerd Culture, Reviews, Science Fiction, Space Opera | Tags: star wars |
[18] Comments

It’s that time of year again, where I hate -watch the latest Star Wars dump so that you, my dear reader(s), don’t have to. I’m a little late to the party because I was on holiday and had much better things to do with my time than watch a shit movie for this blog[1], so sorry for those of you who already wasted your money on this stinker. This review isn’t going to be quite as expletive-laden as my review of the pile of shit that was The Last Jedi, but that’s because this movie was mostly just disappointing, overblown rubbish, not earth-shatteringly bad.

This review will contain extensive spoilers, so if you really do want to subject yourself to this masochistic annual ritual, don’t read past this paragraph. In this paragraph I present a spoiler-free assessment of the movie, to encourage you to wait until it’s on free-to-air TV. Basically, this movie was boring, insipid and lacking in any real sense of direction. The whole thing was weighed down by all the woeful decisions made in the previous one, and by the ruinous changes to the Star Wars universe that one introduced. It was also weighed down by bad casting decisions made years ago, and by the fact that JJ Abrams is an utterly shit director. It has some nice set pieces but they can’t hold your attention as they should because it’s impossible to bring yourself to care about these people or this story. It’s a washout, and I’m glad the whole sorry travesty has finally come to its ridiculous end.

So now to the part of the review with spoilers.

Why do I care about these people?

The first and biggest problem with this movie – and with so much of modern American cinema, actually – is that I just can’t bring myself to care about any of these people (okay, maybe Chewie and BB8, but no one else). They are just the worst, most boring, most anodyne characters I have seen in an action movie in so long. Sure, Rey is significantly improved from the useless whining loser she was in The Last Jedi, but that just means she has ascended to the level of boring. All the spice in her character in The Force Awakens has been leached out and replaced with, well, with nothing. Finn is a complete waste of space, Rose seems to exist only to worry about Finn (why would she?), there is some old lady who is in a few scenes who kisses another girl who I guess I’m supposed to care about (was she Dorn in the previous one? I can’t tell because these people are so boring that they all look the same). Even the supposedly quirky aliens – like Babadook or whatever the stupid little rat thing was called – are just quirky aliens out of central casting, stereotypes done boringly. Compared to every alien in this movie Ja Ja Binks is a miracle of acting and character development. The cast also acted very poorly – the actors playing Poe Dameron and Rose were super wooden, but everyone was pretty bad – which is really bad when they’re also delivering a bad script in a plot that doesn’t work. Within seconds of coming onscreen for their first introduction every character is reduced to empty nothingness, by a lethal combination of poor script, poor acting and poor character vision. Look at Hux as an example: an Aryan icon giving vaguely meaningful fascist speeches in The Force Awakens gets shot for the most pathetically-acted attempt to lie I have ever seen on screen, an effort that would have made Weasley in the first Harry Potter movie look like the Arch Deceiver himself. And Hux was played by a decent actor! I guess it’s just impossible for them to even give a shit by now, and so why should I?

Poe Dameron needs to die

Poe Dameron was a central problem in The Last Jedi, and he’s absolutely awful in this. I can’t understand why I’m supposed to care about Poe Dameron, or indeed how I can support the Rebel Alliance at all when he’s hanging around it. I would absolutely unleash the Final Order ships on every planet in the universe if it would scrub the universe clean of that man. He’s awful, the worst stereotype of the American jock-hero, with the added crapitude of being absolutely shit at everything he does. In The Last Jedi he single-handedly brought the Rebellion to the edge of ruin, through refusing to behave like a soldier, but somehow in this movie instead of being spaced or fed to the Sarlak in the first scene he is a fucking general, and now everyone has to follow his stupid plans that invariably fail. He – and I guess the director – thinks he’s funny and rogueishly charming but he never does or says a single funny or charming thing, even with the masked chick he just comes across as a sleazy failure (of course we learn that he betrayed and failed his previous gang too). What a piece of shit that character is – and what a piece of shit the director is for assuming we are going to find any fellow-feeling with this worthless scumbag.

The sputtering plot turns

This movie was stupidly long, and a big part of the reason it was stupidly long was that the heroes would be halfway through executing a plan when a fundamental plank of the plan fell apart, so then they have to quickly make another plan to achieve the same objective, and then again, and so on. This meant that a bunch of things happened that just didn’t need to happen, for no apparent reason connected to the overall plot. Or, the heroes would do a thing to achieve a thing, and then something would turn up that meant the goal they achieved was no longer needed. A prime example is the wayfinder, which the heroes spent half the movie looking for just to have Emo Ren smash it, so then Rey just stole his ship. Seems to me like a big chunk of the movie could have been dropped and I could have gotten out of that shitshow about an hour earlier if they hadn’t done that useless quest. Sure I’d have missed the cool scenes on the ruins of the Death Star (just about the only good setting in this movie) and the Big-Haired Black Chick (who I think gave her name only at the end of the movie but I missed it because I was being utterly floored by the sleazy way Lando Calrissian basically made a move on her right there), who was the only cool character in this whole movie. But I’m willing to make the sacrifice if a) this movie can have a bearable length and b) this movie can have a functional plot.

This thing of wasted sacrifices is pretty common in American movies, and it really shits me. The characters spend an hour chasing down an important goal and then it is rendered useless, and I’m meant to somehow maintain a healthy attitude towards the director? The best example of this in history of course is Titanic, where the whole story turns out to have been a complete fucking waste of time. Why would any director think it’s cool to do this to the audience? Ask JJ Abrams I guess because it happened regularly in this movie.

The incredibly stupid plans

I don’t want to sound like a hero or anything, but if I am ever taken captive by a pack of shitstains and held in an impregnable fortress, and you my dear reader(s) are on a mission to save the galaxy, could you maybe consider not putting the entire mission on hold to save my worthless arse? Even if I have somehow managed to graduate to being as charming as Chewie? Just leave me to die and go save the galaxy. Yeah I’ll blame you later, but whatever, you’ll be up to your necks in whatever gender of eager supplicants you want after you become galaxy-saving heroes, and you’ll soon find a way to fuck away the guilt. Don’t do what the idiots in this movie did, and go running to rescue your friend for no reason! And if you do, try to come up with a plan better than “we’ll land in the space ship and start shooting.” That’s not a plan. Oh! Of course Poe Dameron thought of it, so I guess we have to pretend it was a stroke of genius. Just like his plan to take on the largest battle fleet the galaxy has ever seen: take a handful of ships into the middle of the fleet and hope some more will join you later.

Now, it’s perfectly possible to have a movie centred around stupid plans – when you think about it Aliens was a series of increasingly dumb and desperate plans – but it needs to have some other redeeming feature. The original Star Wars movies had fresh ideas and good characters with a tight script, and weren’t exhaustingly long. Here we have boring characters led by an utter shitstain[2], repeatedly fucking up the simplest tasks and taking reckless and irresponsible risks in the middle of a galaxy-threatening event. This is not the recipe to an enjoyable movie!

The power creep

It’s a kind of joke that in each movie the Death Star is bigger than the previous one, and still stupidly easy to blow up, but there is a bigger problem in these movies, that each iteration of the saga we find the ships are bigger, the powers more extensive, and the stakes exponentially higher. We see this power creep in many ways in this movie: the vast Final Order fleet, that just appeared out of nowhere; the sudden revelation that there is a whole planet of Sith; the way that force ghosts can now raise spaceships from the ocean; the use of the Force to, amongst other things, stop spaceships flying or use lightning bolts to wipe out a whole fleet; the deployment of a gun that can kill planets, as ubiquitous now as artillery; the ability of force users now not only to project their image across the galaxy but to interact physically with the location they send their ghost to. It all just keeps escalating, and we the audience get decreasingly emotionally invested in every victory and every defeat. It also seems that with every step in power things also become noticably more fragile: the star destroyers can be blown apart simply by shooting the big planet-killer guns; the bridge of the flagship can be completely destroyed with light artillery; the entire fleet is rendered useless if a single transmitter is knocked out; and so on. There’s no coherence to the power steps, and with each revelation of a new level of power there is a decreasing sense of threat for us the viewers, since we’re so used to everything becoming bigger and nastier, and simultaneously more vulnerable. It’s just puff, useless decoration to hide the fact that there’s nothing underneath the story, nothing to carry the movie.

The problem of hyperspace skipping

So the Final Order have somehow procured a fleet so vast it has enough spaceships to bring every planet in the galaxy to heel, every ship so big and nasty it can kill a planet if the planet doesn’t surrender completely. Very Genghis Khan, much fearsome! Except … there is a super simple way to end this entire strategy. You simply place an old and decrepit ship in orbit of each planet, and when the Final Order ship arrives you just point your ship at it and go into hyperspace. We saw in the Last Jedi that this previously unheard-of strategy enables a small ship to completely destroy a star destroyer. Worse still, these Final Order ships are vulnerable to having their planet-killer guns hit[3], so even a tiny ship capable of hyperspace travel will be sufficient to get the job done – it doesn’t have to be even the size of a Rebel cruiser. We also know that this power move hasn’t been retconned out of the movie, because Poe Dameron uses it in the Millenium Falcon in the first 10 minutes of the movie, to break through an ice wall[4].

So why do I give a fuck about the Final Order fleet, the entire dramatic tension at the centre of this movie? I just don’t care, because in the previous movie these chuckleheads came up with a 100% plot-killing idea that has retroactively fucked the story of every fucking movie in the entire series. What a pack of amateurs.

The stupid rewrites of past decisions

Although JJ Abrams was too stupid to retcon the Hyperspace skip out of his movie, he did make a few efforts to get rid of or explain some of the other dumb-arsed decisions Rian Johnson made, though it didn’t help. We have a training scene where Leia’s Jedi past is explained (spoiler: it isn’t explained, because nothing can explain the awful decision to ruin her character by making her a Jedi); Emo Ren remakes his stupid helmet so he looks even dumber than he did before, like he spilled redbull on his helmet or something; Palpatine is back, because the final confrontation of every trilogy needs a Sith Lord and Rian Johnson stupidly killed Snooky boy back in the last movie; and a few other minor concessions to fandom or to criticisms of some of Rian Johnson’s more bizarre decisions. These just make it seem like the whole trilogy was a dumb dick-swinging contest between directors, and serve to break us out through the fourth wall (though none as badly and awkwardly as the stupid fucking festival of ancestors – see below). They remind us that more than anything else, this is no longer a Saga but a franchise (how I fucking hate that word when it is applied to cultural products), a business whose managing directors have been at odds over the past few years, but which we are now assured has been settled down and is back to sensible business practice. Yuck.

The awful idea of Rey’s parents

I’ve been waiting for the bullshit reveal about who Rey’s parents were and why they matter. It turns out that she is the granddaughter of Emperor Palpatine, because everything in this stupid series has to be some kind of petty family drama, and only rich people matter. So she wasn’t a nobody as told by Emo Ren in the second movie (shock!), so another decision had to be retconned, but whatever. The return of Palpatine was such a dumb idea, and a sign that these writers have no original ideas at all, though I guess it’s better than having a Sith Lord called Snooky Boy, which is the kind of name you give to your dog when it’s being cute, not to a giant force-wielding pscyhopath with very poor recruitment practices. It was also revealed very poorly, and a confusing story revealed quickly with no real sense of meaning or gravity to it. Who cares anyway? It’s been five hours of cinema since we last saw any spark in Rey’s character, so by the time we find out she’s descended from the last good character to die in any of these movies we don’t really care anyway. I think soon after we find this out she dies and gets resurrected by more magic force powers that never used to exist, so it doesn’t really matter. And then at the end of the movie she calls herself Skywalker, probably because the original idea was that she was Luke’s daughter but Rian Johnson fucked all that up. So now this movie also has a completely misleading name – Skywalker died in the last movie and there is no Skywalker to rise, just as the entire second movie was about two Jedi, not the last Jedi. Maybe these guys can’t count, as well as being unable to write.

If Rey’s parents had genuinely been nobodies at least she would have had at least one redeeming feature, but no.

The unseemly arrogance of the Festival of the Ancestors

The first Star Wars movie was released in 1977, and so the entire shabby saga comes to a close here with this shambling boring wreck of a movie in 2019, 42 years later. At one point in this movie our heroes arrive on a planet that is having a festival of ancestors, which only happens every 42 years and is super special and we are told by C3P0[5] is a very rare and important event that we are privileged to see. This is obviously a meta-reference to how this final movie in the trilogy is super important and special and is a festival of the original movie and carries on in its tradition.

Fuck off already, you fuckheads. What an awful, arrogant, stupid and shallow little reference. Everyone involved in making this movie – and the previous one – should hang their heads in shame. You are reprehensible, and you should never be allowed to make another movie.

Conclusion

There are lots of other things wrong with this movie – minor things like how did Lando Calrissian manage to muster up a fleet of thousands of ships from hundreds of star systems in just a couple of hours – but I can’t go exhaustively through all the myriad failings in this and the other recent movies. I think though that it’s enough to say that there are really very few redeeming features in this movie, nothing really to make it worth watching and certainly nothing to salvage the flaming wreckage of this series. The original three movies were fun, charming and exciting, with fresh ideas and a lot of really good acting and writing, but they have been well and truly betrayed by everything that came after them. It’s a shame: the Star Wars universe is rich and diverse and holds a lot of opportunities for good stories, as we saw in Rogue One; but the main story has been wrecked beyond recognition, and all the charm of the original vision has been buried under a mound of bullshit. There is nothing left in this series, and every additional movie is just going to further poison the already much-corrupted legacy of its original stories. Disney need to take this franchise (oh how I hate using that word to refer to cultural product) out the back of the studios and put a bullet in its head. The best option for this decrepit old series now is a quick and painless death, before any other creepy Hollywood Directors further abuse its corpus.

I won’t be watching any more of the main series, and I recommend you do the same. These directors have ruined a once great thing, and they will probably continue to do so. But we don’t have to help them do it.

fn1: For example, reading shitty economic “mathematics” on the plane, in preparation for a post on the disaster that is “analysis” in mathematical economics, oh I do have such a fun life!

fn2: How did Poe get to be leader, btw? Leia was in charge in the second movie, and now suddenly this idiot is running the show. If ever there was a model for a shitty white man failing up, Poe is it.

fn3: Somewhat tragically, these guns hang under the ship like a massive cock, so it’s exactly like kicking the ship in the balls.

fn4: Apparently this strategy destroys Rebel cruisers but barely scratches the Falcon, who knew?

fn5: Who, fair play, is mildly enjoyable in this movie, especially after he loses his memory

December 17, 2017

Star Wars The Last Jedi is Shit

Posted by faustusnotes under Movies, Nerd Culture, Reviews, Science Fiction, Space Opera | Tags: star wars, stupid stupid things |
[86] Comments

Star Wars: The Last Jedi opens with Po Dameron pushing a ridiculous and unbelievable plan that gets a lot of people killed, and ends with him walking away a hero. He should have been killed in the middle of this movie as a consquence of a whole chain of reckless and stupid decisions but somehow comes out shining; I can’t say the same for my commitment to the Star Wars genre, after a similar sequence of staggeringly stupid decisions on my part. After sitting through five terrible movies even when I should have known better, I have given up on this whole thing. This fan is burnt out from all the bullshit, and this bullshit is nowhere better seen than in the latest putrid installment, a festering two and a half hours of stupidity, poor decisions, treachery to the original canon, and flagrantly bad movie making. Everything it could do wrong it did. It has a terrible plot; it can’t decide if it is a comedy, a human drama, a romance, a fantasy, a cowboy movie or a space opera, and it can’t do any part of its smorgasbord of genres at all well. It has awful characters: Po Dameron is an entitled little shit who needs to die; Rei has been drained of all her spark and vibrancy; Kylo Ren may have improved over his execrable performance in the previous movie but he is still a bullshit character whose motivations make no sense and who just cannot command any gravitas at all; and far from being the wise-cracking cynic I was promised Luke Skywalker is just a whingey old sad-sack hiding on an island, the central emotional hook for all his actions obviously transparent bullshit. Princess Leia, of course, has been hijacked and ruined in this movie. The technology is ridiculous, and the Star Wars universe has been transformed from one with cool but anachronistic tech to a series of penis-waving boys’ toys, everyone intended to outdo the previous one – perhaps in order to keep the viewer from noticing that this whole thing is a stack of steaming horseshit – in such a flagrantly obvious way that it’s kind of pathetic; and then anyway as soon as they introduce the new super powerful tech the writers do something dumb with the script that completely undermines everything that was great about the new tech. That’s bad screen writing. And did I mention the script? It’s appalling. As is the acting, the special effects, and the choreography. Also the jokes – which even if they were good serve simply to undermine whatever else is happening at the time – are genuinely lame. And what in this wide universe is going on with the PETA sub-plot? How did anyone think that was going to fit in? Or the stupid children in the stables – one of whom looks so much like Oliver Twist that I was sure he was going to burst into song. Is that meant to be inspirational, or is it a teaser to the possibility that Episode 9 is going to be an actual musical? Perhaps we’ll have to suffer through three hours of Les Miserables in space?

This movie is just a pile of junk, and a pitifully obvious attempt to milk the last loyal fans of this bloated franchise. The whole thing is kept going by fans who are too devoted to stop, and treacherous cinema critics who give the Star Wars series an easy pass because it is a fan favourite. The Guardian gave this waste of 2.5 hours of my life five stars. I’m sorry, I can understand having differences of opinion on the quality of a movie but this movie was not anywhere near five – I could forgive giving this obvious one star bloated carcass a three because you’re not a seasoned sci-fi aficionado, but five!? Anyone who gets their movie criticism so wrong should be sacked. Now you might say “All these critics say it’s great and just you faustusnotes say it’s bad, surely they can’t all be wrong”? And I reply: Yes, yes they all are. You can believe me, and not waste your money on this insult to our childhood memories, or you can burn a couple of hours of your life and come out angry at the director, and angry at yourself for not listening to me. Here’s my tip: Wait for it to come out on TV, and spend the money on having someone hammer your kneecaps with a mallet. It’ll be more rewarding.

— SPOILER WARNING —

[From here below are specific detailed criticisms, which include spoilers, so if you haven’t seen the movie yet and are still dumb enough to ignore my advice, please don’t read further. I suggest you book mark this though so you can come back afterwards and curse yourself for ignoring my advice]

The central problem of this movie is that it’s poorly written, but there are some specific and serious problems that either really let this movie down, or serve to create further trouble for the entire Star Wars effort. These bigger problems are also the reason I’m not going to waste further time on the central movies of this whole dead horse series, because the willingness of multiple Directors to piss all over the original movies’ entire purpose shows clearly the contempt with which they view fans of these movies. It’s not just a question of not wanting to waste my money on movies that are going to be predictably bad – it’s also about not giving these people a reward for ruining something that was once great. And now these movies are becoming such a drag on the whole universe that I’m starting to question my love for the originals. When it reaches the point where these movies are – in typical JJ Abrams style! – reaching back in time to ruin your childhood memories, it’s time to cut and run. So here are some specific examples of the deep contempt with which Rian Johnson treated his viewers.

Po Dameron is a traitor who needs to die: In the very first scene of the movie Po Dameron – the shining white boy hope of this movie, apparently – goes on a reckless mission that is just patently obviously stupid, and refuses to follow orders and retreat. His mission ultimately succeeds so in the middle of the movie, certain of his own rightness, he launches an actual mutiny on a rebel ship, and sends Fin and Rose (a new character) on a mission that ultimately leads to the betrayal of the Rebellion’s plans and the death of most of its members. When his mutiny fails and he is recaptured he attracts absolutely zero consequences, when in fact he should have been spaced, and at the very end emerges with his reputation and rank unharmed by his treachery that directly led to the death of most of the entire fucking rebellion. This is an obvious flaw in the story, since the Rebellion is meant to be a military operation but here they are rewarding open traitors, but it’s also a sign of how desperately cynical these people are and how stupid the reviewers who watched this movie are. At a time when there is a mediocre – and probably treasonous – white man in the White House, at the time of the #metoo movement, we get a movie from the heart of the world of sexually harassing lazy white men, in which a lazy, stupid and reckless white man gets lots of people killed, and he gets no penalty at all for his actions, and gets hailed as a hero. As if this weren’t shocking enough, reviewers you might respect actually say that his character has really developed, and see him as a character worth engaging with rather than a flim-flam jock who should be spaced. Lots of reviews of this movie have mentioned that the entire Finn/Rose side mission is a distraction from the main point of the movie but as far as I can tell none have noticed that Po Dameron needs to be spaced. This is fucking shocking. This mission and Po’s actions had me absolutely seething. What do the script writers and the director take us for when they dump this crap on us? Have they no respect for their audience at all?

The movie doesn’t know what it is: The first third of this movie is basically a comedy, with a few asides to a supposedly serious drama involving Rei and Luke Skywalker, or Rei and Kylo Ren, which also include jokes that are supposed to be funny (I guess) but are just lame clangers. These jokes seriously let down what little gravity any other part of the plot is trying to develop, and really do give much of the movie a feeling of being a kind of Christmas Special, not a serious movie. Yes the original Star Wars movies had light asides, but a lot of it was actually genuinely funny ascerbic banter between Solo and Leia, that was in context and most importantly actually funny, not lame one liners or silly slapstick comedy involving really stupid looking aliens, or really weak attempts at humour that fall flat like Rei’s absolutely appalling “can’t you at least wear a cowl or something” to Kylo Ren when he’s half naked. The movie keeps flicking from these serious attempts at character drama to these lame asides, and it really ruins any attempt to set up a serious arc of character development. Star Wars is not a comedy, but it’s fast become laughable.

The core characters are weak: Rei had a lot of zest in the previous movie and was one of its few saving graces, but she has become an insipid weakling in this, a supplicant to the big men in her life. Her relationship with Kylo Ren – which by the way is utter bullshit, see my complaint below about the newfound powers of the force – and the way it is easily used to fool her into her own destruction is a complete betrayal of everything she stood for in the first movie, a backstabbing of every woman who had thought this series might move forward on the back of a strong female character. Her attempts to win over Luke Skywalker come across as weak, and just let her down as a character. Meanwhile the other two men in her life – Skywalker and Ren – are just terrible. First we get this speech where Snoke[1] basically acknowledges that the Kylo Ren of the Force Awakens was a pissy emo shithead, which has to be unheard of in modern cinema, the director using a character’s speech to admit that his critics were right and in the previous movie his character was a pissant. Then we get this weird emotional rollercoaster where Ren goes up and down between being evil and being good, where we’re meant to believe – I suppose – that he’s having some kind of crisis of confidence, then at the end the way it’s written we’re not sure if he was going through a crisis of confidence or if he was just being really super manipulative. And through all this he remains an emo shit, whiney and doing dumb and adolescent things like punching walls. He doesn’t project strength, just an overwhelming sense of insecurity. Then we have Skywalker, who one review describes as a cynical wise cracker, but who is actually just a whiney sad sack, hiding out on an island and running away from everything he is responsible for because he fucked up with Kylo Ren. The central idea here – expressed by Luke himself, not inferred by me – is that he believes he failed because he didn’t stop Ren from becoming evil. But this is obviously bullshit – Ren became evil by himself and his own choice, not because Skywalker wasn’t wise enough. Nobody believes for a moment that anything else happens, so why do the script writers and director try to convince us that this tired and pathetic guilt trip is either a) viable or b) noble? Someone needs to slap Luke in the face and tell him to grow the fuck up. Also, this movie is called the Last Jedi, and at the end Luke says “I’m not the last jedi.” Is this also a first in cinematic fuck ups, where one of the central characters admit that the movie has the wrong name? I don’t know, maybe they should have called it The Next Jedi. Or better still, the Whiney Old Sad Sack Jedi who Should Just Fucking Die Already. Which he does, voluntarily – I count three suicides or attempted suicides in this movie – why not just turn up and do it in person you coward, instead of projecting your image across the universe and doing it quietly at home? Talk about Millenials being lazy and cowardly … which brings me to …

This movie further wrecked the force: In the original movies the force is a quite constrained power that enables its practitioners to – with considerable effort – levitate objects near them, operate light sabers, achieve fairly impressive feats of physical acrobatics, sense each others’ presence within a reasonable distance (possibly planetary) and sense mass murder on an interstellar basis. In the three prequels we discover the force is a virus, but in the new movies we were promised that that dumb idea would be pissed down the memory hole. In exchange we discover that any unqualified dufus can operate a light saber, but now we also discover that the force enables its practitioners to do incredible feats of great power, such as make them almost super human. It enables Princess Leia to survive a direct hit from a photon torpedo, followed by being spaced, and to fly back into her spaceship. It enables Kylo Ren and Rei to communicate visually over interstellar distances – a feat, we should remember, that Darth Vader explicitly could never do, having to rely instead on holograms – and it enables Luke Skywalker to project his image with life size and lifelike perfection across the galaxy, and to manipulate it with such accuracy that another Jedi is tricked into thinking he is killing Actual Luke. This is the worst kind of grade inflation here, since we now know that basically you can do anything with the force. Why waste time on soldiers? Just send in a single illusory force dude from the other side of the universe! When will this inflation end? Will Kylo Ren be tearing planets apart with his mind by the end of episode 12[2]?

The power inflation of technology was ridiculous: First we see a Dreadnought, which is like a star destroyer on steroids, and we’re meant to believe it’s super scary, only within about 30 minutes this is outdone by Snoke’s personal star destroyer, which is like four times bigger again. Also, no actor in history should ever have to utter the phrase “Battering Ram Cannon.” You mean a really big gun? Why not just say it? What a joke!

The super powerful tech is betrayed by the writers: When the Dreadnought appears it certainly looks scary, and we’re led to believe it’s the most powerful star destroyer in the First Order fleet, but then Po Dameron goes on a solo run across the surface of this super star destroyer and blows up every single cannon, clearing a pathway for the Rebel bombers to then come in and destroy it easily. It goes down to a tiny rebel fleet with way greater ease than it took to even damage a smaller star destroyer in Return of the Jedi. To be clear, there’s no reason for this: The Rebels could have had a bigger fleet, or been chased by normal star destroyers, or had some other plan that wasn’t so obviously intended to make the Dreadnought seem like a pissy under-powered ship. Why introduce a super-powered ship and then have it undone by a plot involving a single x-wing, making it weaker than any previous ship in any previous movie? Answer: Because you’re a bad writer. But this isn’t the only example of this. When the First Order bring out their “Battering Ram Cannon” to break down the walls of the rebel base, all the rebels are super scared that if it gets put to use it will break down the doors and then they will have to fight the First Order troops. So what do they do to stop it from breaking down the walls and making them vulnerable to the superior first order forces? They go outside the doors to attack the first order forces! Furthermore, this super powerful cannon is so powerful that … Finn, flying in a rust bucket tiny vehicle with literal actual holes in it, can enter the beam of the cannon and take several seconds inside it and still not die – then moments later while still inside the beam, get hit by another rust bucket flyer and have his own flyer get torn apart by the impact. So the “Battering Ram Cannon” is … weaker than a shitty second rate flyer? And does less damage than a microwave oven? This is awful writing. But it’s far from the worst crime these writers committed …

The movie betrays core plot elements of the original movies: Picture the scene at rebel HQ in A New Hope as the death star is approaching the rebel base. A general makes a desperate plan and tells his colleagues about it: “We will send a small force of small ships that need to enter this tiny trench that is heavily defended, fly its whole length, and drop a photon torpedo into a hole no larger than a bantha. It’s the only weak point.” Someone at the back raises their hand, “Uh, sir?” He gestures for them to speak. “Well, um, we could just send a single cruiser into the system behind the death star, then have it jump into hyperspace through the death star at close range. It’ll tear the death star apart and kill everyone on board instantly.” General ponders. “Sure! Let’s do that!” Then looks at Leia and asks “Why did you waste your time getting the secret plans to the death star’s only weakness if we can just tear it apart by sending a cruiser into hyperspace through it?” Leia shrugs, and uses her enormous force powers to tear the general’s head off.

Doesn’t make sense? Well it should now, because both of those things happened in this movie. Apparently a single small cruiser can tear apart the biggest star destroyer the galaxy has ever seen by simply pointing at it and entering hyperspace. And apparently Princess Leia has incredibly force powers that enable her to survive a direct hit with a photon torpedo followed by being spaced, and fly through space back inside the ship she was just ejected from. Did you know that Princess Leia had such active force powers? Why didn’t she use them to escape the star destroyer back in A New Hope? Or to help Han Solo escape Boba Fett? Why, in fact, did any of the plots of the first three movies happen at all, when Princess Leia had Jedi powers and a single cruiser piloted by a single person can destroy a death star? The answer, my friends, is that none of these things used to be true but now they are, and if you aren’t able to employ the Doublethink required to align these two entirely different perspectives on the core characters of the canon, then you probably shouldn’t waste your money on any more movies in this series.

The weird animal rights sub plot: There is an absolutely appallingly bad seen in which Chewie roasts a space puffin over an open fire, and is about to eat the space puffin when these other space puffins turn up and make him feel guilty so he stops. Then there is another weird part of the whole Finn/Rose being traitorous sub plot where they go to a planet renowned for its horse racing and we get a little aside about how cruel the racing is, and the animals all get freed (after, weirdly, being raced which is not bad if Finn and Rose do it). Where did this weird animal rights sub plot come from? Did PETA sponsor this movie? Why is it in this movie? With 2.5 hours of this shit, do we really have spare time for a couple of asides about animal rights? Also, while we’re at it, the moralizing about arms dealers being the worse people in the universe, only to find out that they also deal to the rebellion, was just incomprehensible and weird. First of all, I doubt that the First Order – an organization so large it spans galaxies and is able to build a death star the size of a planet – buys its small arms from small independent dealers. I suspect the First Order have a full procurement system in place, and all major tech is – like the Death Star – made in house. So wtf is going on with this whole aside about the arms dealers? And also, if you want to make them seem like bad people, don’t immediately reveal that they also deal arms to the good guys. Doesn’t that just kind of mean that the whole thing is a wash? Or should the good guys not have guns? Because I didn’t notice them being very pacifist when they flew that cruiser at hyperspeed into that star destroyer and killed the hundreds of thousands of people on board. This kind of sub plot is just weird.

The special effects and choreography were awful: I mentioned that Chewie tried to eat a roasted space puffin. The roasted space puffin he was about to eat was so obviously plastic that it was distracting. Princess Leia’s flight back into the space ship after she survived being spaced (and hit with a photon torpedo) was such a lame piece of Mary Poppins-esque christmas card glittering over the top wank that I couldn’t believe I was watching it. And the fight in the throne room between Kylo Ren and Rei against the Imperial Guards was just terribly hamfisted. There was one point where one of the actors clearly stepped carefully under a pole arm and placed himself in the position of being throttled. Pathetic.

A brief note for the reviewers: Most reviewers gave this movie four or five stars. Why? This is a serious dereliction of your duty to the public. This movie was a stain on cinema, and you gave it top marks, said it was the best yet. Why did you do that? Aren’t you serious about your job as a reviewer? I am deeply disappointed in these people. How can I judge whether to bother seeing a movie if the reviewers are going to straight up lie to me about how good it is? At least I now know one form of quality control for movie reviewers – I can check how many stars they gave The Last Jedi, and judge all their other reviews accordingly.

Other minor details: How come nobody knew the planet was there? How do you hide a fucking planet? Why did the lasers fired at the rebel cruiser arc through space – were they not light? If they were not light, where was the gravitational force so powerful that it could visibly blend them? When did fucking fuel become an issue in any scene of Star Wars ever? This was the central issue driving the tension of the entire movie and it’s never been raised in any of these movies ever before! Why did nobody listen when Princess Leia demoted Po Dameron, and he remained “commander” for the rest of the movie even after he led a fucking mutiny!? Why didn’t Admiral Holdo tell anyone about the invisible fucking planet and her actually quite smart plan of hiding out there? When Luke Skywalker projected himself onto the invisible fucking planet to act as a distraction for the rebels to get away, did he know that there was no other exit? If he did know, why did he go? And if he did know, why didn’t he move the rockfall before he went to confront Kylo Ren? How come even though in every scene where Sith and Jedi meet, the Sith can sense the Jedi, on this one occasion when Luke wasn’t actually there Kylo Ren couldn’t sense that and if he couldn’t sense him why didn’t he think that was weird? How actually stupid, on a scale of 0 (incredibly fucking dumb) to 10 (of star-collapsing levels of fucking stupidity) is Kylo Ren and can someone please, please kill him? How the actual fuck did the scene with Princess Leia becoming a Jedi get through any kind of quality control process? What were the producers thinking putting in an actual literal comedy conversation with that stupid little douchebag having an armed union dispute? Did they think that a straight segue from a desperately tense survival situation to a straight comedy conversation would somehow improve the movie in any fucking way at all?

And finally, and most importantly, how stupid do these people think we are to keep watching this unmitigated shit? And how stupid are we, to keep watching this shit when we obviously should know better? Well, I’ve been fooled five times in a row by my own commitment to this universe, and by my foolish belief that reviewers would write an honest review about a major movie, so that’s it from me – I’m checking out of star wars. I will watch spin-offs if they seem like they might have a chance of being good, simply because the universe is a fun universe to watch, but I’m not burning any more of my money or my rapidly dwindling life span on the main series. It can go and die in a ditch.

Other reviews you might be interested in

My review of Avengers: Infinity War, describing how it bullies its audience

My review of Mad Max: Fury Road, as an exemplar of eco-feminist violence

My review of Dunkirk, as a story set in the in-between

UPDATE: I have now analyzed Rotten Tomatoes data to show that the movie critics were uniquely out of sync with public opinion on this issue, and that I am right and the movie critics are wrong: This movie is unmitigated shit, and everyone agrees with me.

fn1: Which, btw, should be the name of a bad guy in a Harry Potter movie, not Star Wars

fn2: I read a part of an interview with the director, Rian Johnson, which mentioned that he has been given a whole extra trilogy of his own. Fuck no.

December 19, 2016

Rogue One: Making Star Wars Great Again

Posted by faustusnotes under Movies, Nerd Culture, Reviews, Science Fiction, Space Opera | Tags: rogue one, star wars |
Leave a Comment

Someone has been reading the Star Wars RPG opening adventure

Laser from space!

Rogue One is a great movie. But more importantly, it’s a movie that brings the original Star Wars feeling back to life. It is a lively, intense romp through the Star Wars universe, replete with all the things that made the original movies so enjoyable: characters you really want to win, a plot that unfolds at the speed of light and keeps you on the edge of your seat to the end, stunning settings, space battles, and valiant heroism and sacrifice. The main characters are constructed quickly and smoothly at the beginning in broad brush strokes, which waste no time establishing who they are but get you engaged with them early on. The plot is driven by the same tense, demanding deadlines that we are used to from the original movies: an impending doom, a crucial space battle that depends on a small insurgent team to rescue it from catastrophic failure, and a taut race against all the resources of the Empire to snatch victory from them against impossible odds. The story unfolds over several planets, all presenting very different settings and ending in a beautiful archipelago that offers great views for the astounding slaughter unfolding in and above it. The fundamental driver of the plot – the need to get the plans to the Death Star – demands valiant action, heroism and sacrifice from a band of people thrown together by a mixture of desperation and idealism.

Still, we know from bitter experience that it’s possible for a Star Wars movie to appear to have all these elements, but to submerge them in plots designed by the marketing department, a sea of CGI, and limpid acting that makes you forget whole scenes. We don’t see any of that in Rogue One – the plot isn’t just tight and well worked, it makes sense within itself and does not demand that we regularly suspend our sense of disbelief or our understanding of what makes stories work in order to accept the sequences of events unfolding before us, and although there are several points in the movie where disparate forces come together to create chaos, the mechanism of their having been brought together makes sense and doesn’t stretch our credulity. There’s plenty of CGI but it’s used sparingly, giving us what we need and no more – none of those classic sci-fi disasters of filling the screen with spaceships because you can – and the CGI doesn’t ever serve to distract us from bad dialogue or bad acting. The dialogue is, apart from one bad joke, very well crafted, and just as in the original movies a droid plays an essential role in establishing the best repartee. And the acting is great.

Of course there was a time when these would have been considered baseline standards for a good movie, but in modern science fiction movies you’re lucky if you get to see all these basic conditions met, so we must remark on them as if they were unlocked achievements. Rogue One goes further than just unlocking these achievements, however. It also presents us a moody feeling of loss and threat throughout, it gives us fine cinematography and some stunning set pieces to make us marvel, and it is picture perfect to the original movies. If you watch Star Wars Episode 4 immediately after this movie (as I essentially did) you will see a seamless flow from Rogue One to A New Hope. Better still, Rogue One’s story offers an explanation for a core problem many people have with the fundamental plot of Episode 4, effectively saving that movie from itself and improving the original offering. It also is about more than just stealing the plans for the Death Star – it is the entire first two sentences of the opening text of Episode 4, fleshed out and with a rollicking ending that explains everything and leads you straight to A New Hope. As a result this movie, much more than anything that was made since Return of the Jedi, deserves to be considered canon, even if Disney are trying to present it as a sideshow. This movie is a genuine improvement on the Star Wars universe, a real core offering, and has much more to add to the story we grew up with than any of the flaccid bloatware that has been released in the past 20 years.

The movie does have its flaws, of course, but they’re not serious. At one stage near the end the heroes are presented with a series of seemingly insurmountable challenges to achieving their task, which of course they overcome, but this turns a small section of the movie into an action platformer, or some kind of sci-fi version of that Ninja Warrior game show. That lets it down a bit and I think this part could have run more smoothly without pushing our heroes to be super-human to no particular plot purpose. Also this movie suffers the same problem as Episode 7, where hyperspace travel now happens at the speed of plot rather than any coherent actual time frame – we no longer do the Kessel run in 12 parsecs, we do it in however long it takes to get our spaceship to the next scene on time and in position. Of course there’s no reason not to have hyperspace travel be near-instantaneous, since it’s hyperspace, but in the original story they at least had time for a highly fraught game of chess and some jedi training before they rocked up into a meteor shower. Now it appears we can get an entire fleet of battleships from quiescent to the other side of the galaxy, in battle formation, in the blink of an eye.

Aside from those small flaws though, this movie was brilliant from start to finish, and for me at least it restored my faith in this once-great series. If we’re lucky the producers and directors of Episode 8 will learn from this and try to get the whole carnival back on track – or we will see more spin-off movies that add more to the Star Wars mythology than the core movies ever do. Or, ideally, both. But just in case this is the last good thing ever to come out of Star Wars, I recommend seeing it as soon as you can – the ending of this movie is absolutely ruined if you hear any spoilers, so get down to the cinema and see it as early as you can, before the best thing to happen to Star Wars in 30 years is ruined by its own success!

May 9, 2016

Star Wars Marathon: A Trail of Chaos

Posted by faustusnotes under game reports, Science Fiction, Space Opera | Tags: fantasy flight games, star wars |
[5] Comments

I won it in a bet, officer, honestly! It’s not stolen!

This week in Japan is Golden Week, a nearly week-long public holiday, and in honour of the fine weather my group did a two-day marathon of Star Wars role-playing using the Fantasy Flight Games system.

Our group was a good mix of five members:

Whitney (me), human soldier (medic)
Wargh, Wookie hired gun
RAPTOR-1, Droid bounty hunter (assassin)
Aleema, Twilek Jedi Sentinel (shien)
Jorus, Acrid[1] Hired gun

We started off running through a slightly modified version of the introductory adventure, then blasted into space and ran on an improvised adventure that rapidly went to hell through our intense stupidity. This was a marathon session so this report is a very quick summary of the main events.

Trapped on Tatooine without enough funds to get a ship, we needed work. We took a job for Teemo the Hutt, a notorious gangster from our local spaceport, Mos Shuuta. It being impossible to easily travel between spaceports on Tatooine, we needed his help. He asked us to head into the desert to find a lost droid of his that was being held by some Jawas, so we did. However on the way to find the droid we bumped into some Trandoshian slavers and killed them, releasing their slaves and putting ourselves in trouble. We found the droid at the Jawa crawler, which had been destroyed days earlier by the Trandoshians, and returned to Mos Shuuta with it [this took weeks in total]. Unfortunately, Teemo the Hutt was impatient with the time we took, and the Trandoshians were business partners of his; when we returned to town we found ourselves pursued by his henchmen looking to exact revenge for our “treachery” in killing his business partners and “stealing” his droid. We guessed he had hired multiple groups to get his droid, and intended to kill all the groups that failed.

Oops.

Surrounded by desert with nowhere to run, we soon realized we had no choice but to steal a spaceship and escape the port. Fortunately a Trandoshian slaver called Threx had arrived in town in a spaceship in need of repairs, so all we had to do was capture his spaceship and repair it and escape. We stole the part he needed from the local scrapyard and headed towards the ship. A helpful droid told us we would first need to deactivate the standard security clamps that hold all ships in port until their nominated release date; this would mean a trip to the spaceport and a spot of lying. We did this successfully but unfortunately in the process we tipped off a local to our plan, and he told some imperial stormtroopers.

Oops.

There followed a kind of hilarious chase through town during which we slowly killed all the stormtroopers. With little time before more came, we headed to the dock where Threx’s ship, the Poleaxe, awaited us, unclamped. Unfortunately we were met by four droid guards, which we killed, but in doing so we alerted Threx, who was onboard his ship. Desperate battle followed, and ultimately Wargh prevailed over Threx with a supreme display of Wookie rage. As RAPTOR-1 prepared the ship for take off, Whitney took the gun turret to kill some stormtroopers who were setting up a heavy blaster nest, and off we went.

We hit low orbit at the speed of plot, but we weren’t alone – four TIE fighters bore down on us as we raced for the jump point, and we didn’t yet have the hyperdrive converter thingamy slotted into place. Jorus and Whitney took position at the gun turrets, with Aleema and RAPTOR-1 piloting, and battle was joined. While RAPTOR-1 and Aleema cartwheeled and tumbled through the skies above tattooine and Wargh worked feverishly to install the jump-drive activator thingamy, Whitney and Jorus picked off the TIE fighters one by one. Unfortunately they didn’t destroy them fast enough, and their clutzy old ship began to take a lot of damage. Wargh managed to install the hyperspace warp-accumulator whatsit, but in the thick of combat Aleema was having difficulty determining a hyperspace path, and didn’t want to use the pre-loaded path. However, with the ship hull degrading and more TIE fighters inbound she decided not to waste any more time, and punched the hyperdrive for the pre-loaded path. They jumped, leaving the ruins of four TIE fighters scattered across a wide swathe of Tatooine space.

Decisions, decisions …

Looting and planning

Once they were in the safety of hyperspace they searched the ship. The ship must have been in the middle of resupply, because although it had enough fuel it lacked significant supplies and most of the cargo had not been loaded. There was a large stock of empty food packets that were obviously designed for smuggling spice, a couple of thousand credits, and a life support system holding a mysterious plant of some kind, that was obviously not safe to simply open and examine and may even have been held in a special environment.

They also examined the droid, which they were supposed to have delivered to Teemo the Hutt had he not accused them of treachery and set out to kill them. It was a standard astromech droid, but it seemed to have had some kind of reengineering to fit it with large, powerful magnets so that it could be stowed on the outside of any spaceship, rather than stored in a standard astromech array. Obviously this would make it useful for smugglers, but why would anyone want to hide an astromech? Every spaceship had one, and there was never any reason to hide them. Mysterious…

The ship emerged from hyperspace within a day, and they found themselves on the Corellian way, where it intersects with the hyperspace path from the sector around Tatooine. This put them a short jump away from Ryloth, Aleema’s home planet, and also a fast series of jumps away from the Mid Rim. So now they had choices. They could turn around and go back to kill Teemo the Hutt, though his allegiance with the Empire and the presence of Imperial ships in the system made that plan seem a little reckless. Their ship was obviously designed for smuggling spice, so they could head to Ryloth and attempt to pick up a cargo to do a spice run. They guessed they plant they were carrying must be valuable to someone, and if they wanted they could try and find someone who could give them advice on it. The best option for that would be to find an Ithorian, and Whitney knew of a famous Ithorian xenobiologist[2] called Chutah Da, who was exploring the nearby Mid Rim on a herdship.

First they would need to get their new ship repaired. Aleema did not want to return to Ryloth, so they decided to go to Mon Gazza to use the starport there. This would bring them to the edge of the Mid Rim and near the zone of space where the Ithorian doctor was traveling, so they decided to try and pick up trade goods at Mon Gazza and travel from there to the trailing edge of the Mid Rim from the Corellian Way, to find this doctor. They hit hyperspace again.

This isn’t going to work for anyone here

Mon Gazza: A wretched hive of scum and villainy

As soon as they arrived in Mon Gazza system their strange new droid sprung to life and began printing out a receipt-like line of ticker-tape, on which were printed numbers and ship codes. In a moment of recklessness, they decided to pursue this clue as soon as they had repaired their ship. Putting the receipt into safe keeping, they landed on Mon Gazza and negotiated port access with the local mining concern. Mon Gazza was very similar to Tatooine, a barren desert planet with little to recommend it except extensive pod racing contests and spice mines. It was as grim as the planet they had just evacuated.

As soon as they landed they found out that the port and all the community around it was in the grip of a local strongman called Xersca, who was guarded by a posse of stupid little insect-humanoids called Aqualish. After we caught him following us we visited his bazaar to have a chat with him about a mutually beneficial agreement, but during the chat he told us he had already stolen our cargo. This, unfortunately for Xersca, wasn’t exactly correct; he had sent two of his Aqualish, armed with rifles, to take the cargo, but as he was bragging about his cunning Wargh, who had stayed back at the ship to negotiate with the harbour mechanic, was beating them to death. Word of their unpleasant end reached us just as Xersca was attempting to extort us for the return of his cargo. We left him there in a state of puzzlement, with a parting suggestion that when he was ready to come to an agreement with us he could come and make an offer of payment.

Our initial success notwithstanding, we soon realized that hanging around this port was going to end in a big fight, and Xersca probably had resources he could call upon that he hadn’t yet deployed, so we decided to light out as soon as our ship was repaired. The mechanic, having witnessed Wargh killing someone who tried to cheat us, offered us a very reasonable deal on repairs, and we were able to leave after a few days. One of the Aqualish who had been sent to rob us somehow survived Wargh’s fury, but he had no useful information for us and was terrified of returning to Xersca, who he promised would kill him. We took him on board with us when we left, to act as watchman and guard when we were away from the ship. Botan the Aqualish Idiot, our first retainer!

The final act: A wretched hive of confusion and stupidity

With all the galaxy to explore and no particularly pressing goals, we decided to pursue the clues that the droid had spat out. Although we didn’t understand all the information on the strip of paper, we at least recognized a star location relatively nearby, and a code for a ship. We hit hyperspace and traveled to the destination.

At the destination we hit a star system with a seemingly unmarked spaceport floating over a distant planet. The spaceport hailed us and demanded our ship codes; we supplied the codes on the receipt, assuming that this was a shadow spaceport and that it would be dangerous to visit this spaceport without the right codes. Unfortunately the spaceship identified by these codes, the Green Arrow, was already docked at the spaceport, and so we had given our game away. Rather than streak out before we got into more trouble, we decided to bluff our way in – despite our bluffing powers being frankly terrible – and somehow convinced the traffic controller that there was some kind of error; we also managed to convince the man who met us at the docks that the other ship was an imposter.

This man gave us until the end of the day to sort out why this imposter ship had “the goods” that we were meant to be carrying, and to get “the goods” back or we would have to pay for them. We stupidly agreed.

This led to a confused and chaotic few hours on the spaceship, which ended with us entangled in a three way battle between a large gang of mercenaries and a small gang of extremely deadly pirates from the Green Arrow. During this battle we managed to get a couple of people killed, steal some kind of arm-mounted laser shield that seems like it might be worth a lot of money, and get the entire area of space station around Dock 67 completely trashed, probably somehow killing 20 or 30 people who were sucked into space during the explosive decompression that our stupidity caused.

Ooops.

Fortunately we got out safely, and were in hyperspace before the spaceport authorities could catch us. In the melee we managed to learn that the mercenaries attacking the Green Arrow were from Dash Corp mercenary group, and the goods belonged to some scary guy called Saba. Then we were out.

The universe is dark and full of terrors. It also, apparently, is full of idiots. Let’s hope we can do better next time …

fn1: Jorus was played by Little A, a Japanese occasional member of our group. The Acrid are a species our GM made up for Little A, which speak heavily-modified galactic standard, so that basically the only PCs in the group who could communicate with Jorus were those whose players spoke Japanese. Little A, with no real English background, did a great job of keeping up. I wish I could do so well in Japanese! In the end it didn’t matter because we created so much chaos that even in our native language no one knew what was going on. At least Little A had an excuse!

fn2: Somewhat remarkably, Whitney’s one rank in Xenobiology proved extremely useful in this adventure!

December 23, 2015

The Force Awakens: An Entertaining but Disappointing Addition

Posted by faustusnotes under Movies, Reviews, Science Fiction, Space Opera | Tags: star wars |
[15] Comments

[This review contains SPOILERS so please don’t read it if you haven’t seen the film].

I saw Star Wars: The Force Awakens on Sunday, and really enjoyed the spectacle and the homecoming feeling of it, but reflecting on some of the things that niggled at me during the movie, I have decided now that it wasn’t a very good or indeed necessary addition to the series. There were many things to like about it: the first battle of the TIE fighters with the millenium falcon, much of what Kylo Ren does and his velvety Sithlord style, the spectacle of the space battles and the pace were all great. I must confess to nearly shedding a tear when Han Solo and Chewbacca emerged, and I thought it nicely reproduced the riotous colour and fantastical nature of the original series without overdoing CGI or grotesqueness. I thought all the main characters were great, really enjoyed Han and Leia’s gentle brokenness, and appreciated BB-8. I also appreciated the modernization and diversification of the cast, with a lot more women in positions of power and influence and a wider range of non-human races in the Republican forces, and I thought a lot of the dialogue hewed closer to the original spirit, without the heavy doom-laden pretentiousness (and humourless weakness) of the prequels.

In short, on a superficial level it was a great Star Wars movie and it seems to have earned great reviews (and a metric crapton of money) from a wide range of sources on that basis. But on reflection, there were a couple of major flaws with the movie that left me disappointed. Here I will present my main three criticisms of the movie, summarize a few more minor complaints with the content, and give my final feelings about this new series of three movies.

There was no narrative purpose.

Why was I in the cinema watching this thing? The prequels had an obvious purpose, which was to tell the story of the rise of the Empire and overthrow of the Republic, track Vader’s fall from grace and the destruction of the Jedi, etc. In a narrative sense it was necessary, though obviously once we had watched these crawling abominations we all agreed that from an artistic perspective these movies were not only a disaster, but risked wrecking the legacy of the originals. So in this new set of movies, we need a reason to be watching. But what is that reason? At the end of Return of the Jedi we are led to believe the Empire is broken, peace has been won, and the order restored, but at the beginning of this movie there is some sinister new evil force afoot that isn’t just a remnant of the old Empire – it is much more powerful. Our escaping stormtrooper makes it out to be some kind of panopticon in its powers, and it seems to be able to build a death star that dwarfs even the supposedly unprecedented engineering feat of the last one. It appears that in a short space of time everything that happened in the original movies has been not just undone but seriously stomped all over, and yet still this time there is a Republic (not a Rebellion) and the war is ongoing. We are given no reason to understand how this happened, or why we should be throwing in our lot again with the same crew of people who somehow allowed this to happen. Implicit in this collapse of the Republican peace is a big question – will this galactic war ever end? When we joined the original crew in A New Hope we did so on the assumption that somehow they would prevail, as good always does in these kinds of movies, and there would be an ending. But now that victory is not just under threat, it has been comprehensively undone. So why should we suffer through all this stuff again – just to see it fail again? What are we doing here …?

It feels like a family story

I hate the way the prequels decided to keep everything in the family, and even though they preceded the original movies they still managed to find ways to include people connected to those original movies – C3PO, Boba Fett’s dad for Christ’s sake – rather than finding a new cast and drawing them together into the story of Vader’s downfall and the rise of the Empire. It’s even worse in this new movie – we get the entire original cast back, Kylo Ren is Han Solo and Leia’s son, and the entire movie is structured around the quest for Luke Skywalker (who I bet turns out to be Rey’s dad). Also, Kylo Ren is a Vader fanboy, even though he is not related to him, which undermines his character by making him into some kind of pimply evil boy wannabe rather than a serious threat, but also reminds us that nobody in this story can be independent of the originals. Couldn’t we have an evil guy who didn’t give a toss about Vader, and who was not related to the original cast, so that those cast members could just do a cameo to anchor us to the previous stories before we go off on our new journey? There are stars without number in this galaxy, and more humans than grains of sand on Dune, yet somehow the same four people really count for the entire future of the galaxy? This risks turning the whole thing into a sitcom or soap opera, rather than a galaxy-spanning epic.

It copied too much from the original

Sometimes it’s a good idea to copy the plot for a sequel from the previous movie. The best example of this is Terminator 2, which is an excellent movie that basically precisely follows the plot of the original movie, with The T-800 in the role of Kyle Rees. Even attacks on police stations and overturning trucks occur in the exact same sequence – you’re watching the same movie, but loving its freshness and brilliance anyway. But this doesn’t work in The Force Awakens, somehow. It has a lot of similar scenes and the key details are the same. For example: A droid lost on a desert planet brings a plea for help to a young dreamer desperate to escape; they escape from the desert world in the Millenium Falcon, chased past star destroyers by TIE fighters; everyone is looking for a lost, old Jedi who is hiding from responsibility in shame at his failed pupil; Han Solo and his young supplicants make their plans in a pan-galactic bar; there is an attack on a death star, including x-wings flying down a tunnel to put precision ordnance on a weak spot; a major planet is destroyed by that star destroyer simply to send a message; while the young idealist looks on, her elderly hero is killed in a sacrificial scene by an evil sith lord. The only thing JJ Abrams really did was change the faces, and move the elements around a bit. But while the power of the scenes copied for Terminator 2 was in their visual impact and style, the power of many of these scenes in A New Hope is in their emotional impact and freshness. We don’t get that same impact the second time round, because they aren’t fresh anymore. Sure Solo’s death is pretty shocking, and the lead up is visually cool, but the rest of these moments don’t hold the same power the second time.

How this is all going to go wrong…

None of these aspects of the movie would be a problem in isolation – they might even be good points – but in total they give the impression of a movie that has been made more so that we can wallow in the past glories of the original series, rather than that we can carry that series forward. It’s a homage to the joys of the original more than anything new, and worryingly it is in its newest elements that it is weakest. Of course I’m happy to see a well-constructed homage to the original series, but there were many aspects of this new movie that weren’t well done. For example, in the original Millenium Falcon traveling at light speed takes time – long enough for a game of chess and a bit of Jedi training – but in this movie people zip about the galaxy as if they were popping out to the shops; in the original Vader was an indestructible, intense and unstoppable force for evil who cut his own son’s hand off, but in this one Ren can be taken on by some random stormtrooper who picked up a sword. In the original the Empire can make a death star that is capable of destroying planets but is vulnerable to a carefully-placed proton torpedo; in this one the death star is the size of a planet and actually channels the raw power of suns, but is just as vulnerable as the original; in the original the Millenium Falcon is picked up by a Star Destroyer because it was on its way to Alderaan, but in this one it is nabbed by Han Solo’s freighter because even though it had been lost for 10 years he got an alarm as soon as the engine turned on and was able to instantly get to the right place at the right time to find it. We overlook these weak points because they’re being blasted at us at a million miles an hour by JJ Abrams’ tight-paced directing, but there are a whole series of major flaws in the story that bode ill for the future of this series. In combination with the nostalgic turn through memory lane and the dependence on scenes and tropes from the original, it makes me think that this movie is more a series of set-pieces tied together by a weak plot than a legendary adventure. If so, once Abrams’s homage shtick starts to wear thin, I fear things will unravel badly. Remember, this is the JJ Abrams who made the absolutely terrible Star Trek reboot with the flamingly bad time travel story; if you doubt that his directing is weak, you can check out the long list of problems with the new Star Wars movie here. This doesn’t bode well for the next two movies.

My hope is that for the next two movies we will follow a dark and bitter story in which Skywalker’s anger at Solo’s death leads him on a path of ruin into the dark side and out again, perhaps redeeming himself and uniting dark and light side at the end. I don’t think that’s going to happen, though: I think JJ Abrams is going to come unstuck once he runs out of nostalgia to back him up, and is going to make two increasingly woeful and hole-filled movies that betray the original three movies just as surely as the prequels did. Of course I’ll watch them anyway (or at least, the next one); but I wonder if perhaps it might have been better to take this series out the back and put it down long before now.

November 23, 2015

Get your Infanticide out of my Star Wars

Posted by faustusnotes under Horror, Meat Life, Nerd Culture | Tags: Britain, religion, star wars |
[4] Comments

Christian doctrine summarized

Today’s news brings us reports that the Church of England’s gentle attempts to frontload the new Star Wars movie with a one minute long advert for their brand of authoritarian fantasism have fallen flat, in what everyone (even Richard Dawkins, apparently) is calling a defeat for free speech. In a stunning moment of unexpected bravery from our corporate overlords, the bosses of three different cinema chains have told the CofE to get fucked. Rather than being horrified by this slow slide into oppression, I am very happy, and extremely angry that the CofE felt they had the right to pull this nasty piece of totalitarianism on the British public. Before you start hyperventilating, dear reader(s), let me explain …

I’m not an easily offended man, I think, and I think I’ve been on the record as supporting free expression for all religions. I’m an atheist but I don’t subscribe to the “Militant Atheist” school of “thought”, which holds that religion is a childish emotional prop and that society should and will grow past it. I respect individual religious belief, I think religions should have freedom in public life and I’m not especially bothered by the special place that some religious institutions hold in public life – e.g. the christian churches of various denominations in various nations, Islam in Turkey, etc. In the modern era I really don’t see religion as a big threat to our continued progress towards enlightenment, and I have no problem with its open expression and with its historical contributions being recognized. I’m also, I think, on record here as saying I suspect that a lot of the militant atheist spokespeople are sexist, racist bigots who are especially fond of using their atheism as a cloak for their obvious anti-Arab or anti-Islamic racism, and I don’t think that their aggressive tactics do atheism any favours. To the extent that atheism is a movement (it’s not) we don’t need these people as our chief representatives. However …

The Church of England, because it has a huge and privileged position in the British intellectual world. It is the establishment church, meaning the head of the church is also the head of a nuclear-armed state. It owns most of the publicly-run schools, and I can personally attest to the way it used those schools to exclude other religions from discussion, to misrepresent them and to force us to learn and recite its doctrine. It gets free public air time for Sunday worship and special events that no one else gets, and its religious events are the key public holidays, during which time it gets almost untrammeled access to both state and private television and radio. Despite this near constant exposure of a large portion of the population to its propaganda message, and despite the fact that the major media organizations treat the corrupt content of that message with kid gloves, it is still losing the intellectual battle with atheism, agnosticism and who-gives-a-fuckism. So, having lost that battle, and aware of that, they are now going to start forcing adults who have graduated from their schools and escaped their slimy clutches to sit through a minute of unbridled power worship before they can enjoy some actually good fantasy.

Why should we put up with this? Why should I be forced to endure that horrible piece of authoritarian “poetry” when I have already been forced to recite it every morning for the first 17 years of my life? If I am not voluntarily reciting it then there is a simple reason: I think it sucks and I don’t want to. So don’t make me read it again, if I never have to read that horrible little cry for help ever again in my belief-free existence I will be a happy man. And most importantly, what gives the church the arrogance and sense of superiority to think that it’s okay for them to afflict me with this crap during my daily activities? Every time I go to a hotel in the English speaking world I’m given a free bible [another public service extended exclusively to the christian church by private companies], hasn’t the church worked out that if I wanted to read that prayer I would?

Most people understand that if you have told someone something a certain number of times and they still don’t believe it or don’t want to hear it, it’s time to stop yelling at them. Apparently the luminaries at the head of the Church of England have yet to learn that lesson, and think they have some special right to lambast us with their brand of patriarchal authoritarianism just once more, because that one more minute will get us back. The thought of sitting there, waiting to watch something I really want to watch, while for one minute this old man lectures me on how much I should love a god I don’t believe in, makes me so angry. It’s a direct reminder that these evil old men still own my society; an attempt to force me back to being my 8 year old self, shivering and powerless in assembly hall while I wait to be free of their pointless rituals. How dare they do this?

Some random dude at the Guardian is complaining that the real reason the cinemas refused is because they’re scared the illuminati might force us to listen to a muslim prayer in the future, and then they’ll be forced to play it if they also play the christian one. For me personally a passage from the Quran is largely meaningless, and if I listen to it it won’t make me angry because I have no historical association with Islam (though I guess this depends on the prayer they choose!) But for the record I think that Islam, Buddhism, Hinduism and everyone else should steer well clear of my precious pre-Star Wars advertising time. I also really want to hope that this is not the reason the cinemas said no, but rather that they, like me, are horrified at the thought of allowing any church to preach to us for a minute before a movie. I’m glad they don’t need the money that badly!

The sooner the Church of England is out of schools and television altogether the better. It’s a dying institution that is propped up by the state and the buttresses of history, but its days are numbered. This desperate, mean-spirited lashing out at non-believing adults needs to be stopped early, and rather than seeing this decision as “nonsense on stilts” or some kind of blow to free speech we should recognize that it is a huge victory for modern values over superstition and authoritarianism. Well done those British cinema chains, and shame on the Church of England for thinking that such a move would ever be okay.

October 21, 2012

Playing Gredo

Posted by faustusnotes under game reports, Science Fiction, Space Opera | Tags: star wars |
Leave a Comment

Yesterday’s role-playing was a session of Saga edition Star Wars, set in the era just after the clone wars, and my character was a Rodian scout – that is, one of Gredo’s race, pursuing essentially the same trade and with probably just as much aplomb and skill.

My character, Seredo, was joining an established group, who were on a mission to rescue a turncoat admiral from an imperial prison. The prison was hidden in a treacherous fungus forest on the planet of Feluchia, and the majority of the group had already made landfall and been caught in a firefight with stormtroopers. I had been sent separately, hunting a criminal who was in turn stalking the group, and so I reached the firefight halfway through. This gun battle was taking place across a stream, and involved a couple of stormtroopers, some speederbikes and our party: a human jedi, a protocol droid, and a wookie. Seredo’s aim was to enter the battlefield secretly and use stealth to ambush two stormtroopers who were trying to alert a star destroyer to the group’s presence; unfortunately, Seredo did a Gredo, and fumbled his entrance – instead of sneaking onto the battlefield, he stumbled into a thicket of puffballs, which exploded in clouds of different coloured spores, giving Seredo a rockstar’s entrance to the scene. Still, he was able to pick off one of the stormtroopers and provide covering fire for the jedi and the droid, who were able to kill the others.

Having joined up, we then had to enter the prison block. Being star wars, this was going to have be done only one way: by stealing a scout walker. Our session had to finish after four hours, so we didn’t complete the task, but we’re halfway through: the Jedi is on the roof of the scout walker, I’m between its feet, and the wookie has been spotted. The best laid plans of men and walking carpets, etc.

Playing Star Wars is fun. Blasters, prancing jedi, droids and speeder bikes – it’s just like being there. One of our players has a weird little wookie-head-shaped device with 10 buttons, that when you press it makes various wookie sounds, and it comes with a code so that you know what button to press at what time. Every success and setback is greeted with its own roar of glee or outrage. There are outlandish aliens, stormtroopers to kill, and all the dubious and seedy characters of a universe that is, essentially, a fantasy realm with spaceships wrapped around it. Fun! The system is a variant of d20, simplified a little and with some additional deadliness built in – it has a kind of wound system that makes it a bit nastier to play with blaster weapons, and it’s probably a bit faster than standard d20. So it’s a good balance of crunch and swashbuckling. Of course, being d20 it still takes a bit of time to get anything done. It’s also nice to be playing a PC that can actually do something useful, even if it is only at a Gredo-esque level of ability. So, there’ll be more of Seredo’s exploits in a month or so, when we return to the planet of Feluchia and find out whether he’s going to end his reptilian span prematurely under the feet of an AT-ST, or whether he’s going to ride one to glory freeing imperial slaves …

August 6, 2011

Jedi, Stats and Me

Posted by faustusnotes under Science, Space Opera | Tags: star wars, Statistics |
[3] Comments

The Australian census is due soon. In 2001, 0.37% of the population wrote “Jedi” as their religion. Will Yoda triumph this time around?

Compromise and Conceit

Post-poverty SF: Some Reflections on the Vast Inequality in the Star Wars Universe

How Many Dyson Spheres do You Need?

Post-poverty Science Fiction

How small can a blaster be?

How much effort is too little?

SF’s imaginary failures

Star Wars Character: Dita Voss, Sole Survivor of the Numenorean Argosy

Dita Voss

The Rise of Skywalker: Time to Bury this Travesty of a Once-Great Saga

Star Wars The Last Jedi is Shit

Rogue One: Making Star Wars Great Again

Star Wars Marathon: A Trail of Chaos

The Force Awakens: An Entertaining but Disappointing Addition

Get your Infanticide out of my Star Wars

Playing Gredo

Jedi, Stats and Me

Most recent conceits…

Recent Posts

Where did I hide that…?

Blogroll

Campaigns (as GM)

Campaigns (playing)

Japanese RPGs

Personal