#DANTE STARKILLER | Explore Tumblr posts and blogs

adambethyname-blog · 6 years ago

Text

There’s Exactly One Way to Save the Current Star Wars Trilogy

The world is going to by hyper-focused on “Avengers: Endgame” for at least another few weeks, with a slight dip in interest when we get our Episode IX trailer which is (rumored) to be coming on April 12th at Star Wars Celebration in Chicago. If the Episode VII and VIII trailers were any indications as to what we can expect, we’ll see a few new vehicles, exasperated sweaty faces, and zero clues as to what the movie is actually about.

After a lackluster Episode VII and the unfortunate reception of “Solo,” the mood surrounding Episode IX is just kind of “meh.” I even read that Mark Hamill, himself, was saying that America might be suffering from “Star Wars fatigue.”

The truth is, we’re wedged two-thirds of the way through a trilogy that saw a director and writer change after Act I that literally took the story in an unplanned direction and BOY, did it show. The whole idea of Act I is to set the characters in motion for a conflict in Act II, but director Rian Johnson stepped in for JJ Abrams and abandoned multiple plot points that Star Wars fans became emotionally invested in. The result was a jumbled mess called “The Last Jedi.” Just to name a few:

• We’re led to believe Captain Phasma is some kind of bad-ass, chromed-out, super-soldier Stormtrooper; however, in two movies she gets bested by one of her trainees, not once, but twice and ends up presumably dead. Watch: if she shows up again, Finn will literally kill her a third time. She’s like the Jason Voorhees of Star Wars.

• Somehow, after the Death Star was destroyed, the Emperor was killed, and Luke defeated Darth Vader (Episode VI), someone named Supreme Leader Snoke sneaks in, picks up all the pieces of the Empire, gets them cooler uniforms, builds “Starkiller Base” (Episode VII), recruits Han and Leia’s son to run things and basically picks up exactly where the old Empire left off, rebranding themselves as “The First Order.” Who the hell is this guy? Well, you’re not going to find out because he got cut in half.

• Going into the “It Worked Last Time” bin, we get teased with a little “Who are Rey’s parents?” flashback in Episode VII only to be told they’re just a couple of drunk people who sold her for beer money. What?

Not only that, but the “Rebellion” who were supposed to somehow be victorious after “Return of the Jedi,” never even got their feet underneath them as they tried to restore the Republic in the galaxy. Stop and think about that for a second. All that work for three movies (four, if you want to slip “Rogue One” in there as a preface)... stealing the Death Star plans, blowing up the Death Star, running and hiding on Hoth, restarting the Jedi order, sneaking on to Endor and the only living Jedi in the universe takes down TWO Sith Lords. And for what? To hand the universe back to Skinny Emperor the Sequel in a handful of years? Who’s running the Rebellion? Paul Ryan?

Since “The Last Jedi” was released we actually have found out that JJ Abrams had a full three-movie treatment set up for Episodes VII, VIII, and IX, but when he stepped away from directing VIII, he basically told Rian Johnson “do whatever you like.” I honestly don’t think that he expected Rian to take him QUITE so literally and that’s most likely the reason JJ is back for Episode IX in what is most certainly a salvage operation.

But where are we in the story? We’re down to like 12 Rebels on the Millennium Falcon. Kylo Ren is leading First Order now. We know Leia is going to get it it somehow in IX thanks to Carrie Fisher’s unfortunate passing. Billy Dee Williams returns as Lando Calrissian but given the track record of original trilogy actors, I have even money that he flies the Falcon in a suicide mission, if Rose can stay out of the way this time. Snoke is dead. Luke is dead. Han is dead. Really the only expected outcome is Rey somehow defeats Kylo and it’s “Jedi” all over again... how predictable.

Not so fast.

Any scenario where Rey “wins” or the Rebellion triumphs is just going to be scoffed at as “who didn’t see that coming” and it will be the culmination of a disjointed, poorly told story.

Here’s how you salvage this mess.... the First Order wins.

Yes. Think about it: Kylo Ren kills Rey in combat. Finn and Rose go out like Vasquez in “Aliens” grasping a thermal detonator in an air duct somewhere. You blow up the Falcon, with Lando AND Chewy on it (sorry, Chewy). Poe.... you know, I really don’t care about Poe. He’s so disposable. His name in the credits should just be “BB-8′s Owner.”

And you let Kylo get everything he wanted only to realize that he didn’t want it in the first place and that by “winning” he actually lost. It’s basically “White Men Can’t Jump” but with lightsabers. He killed his mother, his father, and the orphaned girl of drunken traders that he crushed on (guys love a “project”) and sadly, like Alexander the Great he will weep as there are no more worlds to conquer. Not everything can be a happy ending. Episode V is widely regarded as the best single entry in the Star Wars series and why? Because, like Dante said in “Clerks,” it ends on a down note, and that’s what life is - a series of down endings.

That’s the only way through this. It’s the only unexpected thing you can do at this point to make this trilogy truly memorable. I’ll be honest: the prequels are better that what we have at this point. YES. I said it.

THE PREQUELS ARE BETTER THAN “THE FORCE AWAKENS” + “THE LAST JEDI.”

I’ll take Jar Jar over Rose. I’ll take pouty Anakin over crabby, menopausal Luke.

With “Endgame” just a few short weeks away, this is me, channeling my inner-Dr. Strange and seeing all the possible scenarios for Episode IX. There are 14,000,605 paths Star Wars can take. Exactly one doesn’t suck.

#StarWars #episode ix #episode viii #episode vii #episode vi #episode v #episode iv #rogue one #the force awakens #The Last Jedi #Celebration #Rey #Finn #Poe #Snoke #Kylo Ren #First Order #Phasma

3 notes · View notes

clairen45 · 7 years ago

Text

Visions of Hell...

This second part to my Visions of Paradise Essay was unfortunately a LONG time coming. I hope it will not disappoint.

HELL IS A PLACE ON EARTH... sorry, on a galaxy far far away

So let’s go to Hell in Star Wars and see where it takes us. You can, at first, think of the obvious depictions of Hell, and, oftentimes, Star Wars plays by the rules by delivering your graphic vision of Hell: ie, in the collective mind, and as represented for centuries, as a place, filled with fire, brimstone, lava, suffering, dismembering, torture, with an emphasis on black and red colors. In paintings, this is how it translates:

So, with this visual in mind, this is what you immediately relate to Hell, as a space, in Star Wars:

In the PT, Geonosis (ep 2) and Mustafar (ep 3). You have the fire, the dismemberment (assembly line, C3P0; Anakin loses an arm; Anakin loses both arms and legs and gets burned to a crisp), the psychological and physical suffering, the heavy coded color palette... Visually, Mustafar has been conspicuously designed to look like an archetypal Inferno. It is, after all, supposed to be the lowest point of the saga, the Fall, echoing Dante’s first part of his journey.

In the OT, with Bespin (ep 5) and Jabba’s Palace (ep 6), the visual imagery is more subtle, with some surprising twists and subversions.

Bespin is very interesting because it starts visually as a celestial place, normally coded as Heaven. But this is the place of treachery, and entrapment, which is already suggested by the color coding of the place as the MF lands on Cloud City:

It is a place of betrayal for Han and Leia, sold by Lando to the Empire; where C3P0 is, once again, in the same installment as Trilogy 1, dismembered; where Han is tortured and frozen in carbonite; where Luke is cornered by Vader, loses a hand, and gets the big reveal; a place of psychological and physical pain. Note that there are very few table/dinner scenes in the saga, so this one becomes the Star Wars equivalent of the Last Supper with Lando as Judas, and Han turning into a sacrificial victim.

Jabba’s Palace, is, in my mind, the most interesting Hellish place of the saga. Visually, it does not look like the glorious operatic Hellfest of Mustafar, but it is actually a quite exhaustive take on sin and Hell as depicted by Dante. First, you have, quite as in the poem, two characters (C3PO and R2D2/ Dante and Virgil) entering a dark place to journey into the world of sins and punishment, and who are reminded, at the beginning to “abandon all hope”. This is C3P0 realizing that their master has “offered” them to Jabba as a gift. And what a wonderful and brilliant embodiment of the 7 deadly sins Jabba is!

Sloth and Gluttony

Pride

Greed

Lust

Anger

And envy, since when he sees Leia with Han he “covets” her.

Jabba’s Palace is quite the Pleasure Palace of all sins, between the boozing, singing, dancing, lusting, and killing people for entertainment. You can add to that the torture that he inflicts to the droids (again, dismemberment), the Rancor that is the equivalent of Cerberus as a Dog from Hell (his tamer’s reaction to its death is like that to the loss of a beloved pet), and the pit of the Sarlacc, which promises “ a new definition of pain and suffering as you are slowly digested over a thousand years”, so exactly like the promise of Hell to the sinners who are tortured forever... Jabba, and his palatial Hell, are very interesting because, for once, they are unrelated to the Empire and the schemes of the Emperor. This reminds us as the audience that Evil can take many forms and can often be found quite close to home, which sounds even truer in Luke’s case since Jabba’s Palace is on Tatooine, his home planet, and incidentally, that of Anakin/Vader’s as well. Jabba’s Palace was a bold interpretation of Hell. It is also very telling that all the characters (including Lando, in a rehabilitative process) are living the experience of Hell in Jabba’s Palace collectively, all facing the trials and overcoming them together. So it was not a one on one archetypal duel, the hero facing the villain.

In the ST, there is still of course ep 9 to reckon with, but in the meantime, we get mostly the Jakku opening scene, Starkiller base (ep 7) and the Supremacy and Crait (ep.8)...

We seem, at first glance, to return to a more litteral interpretation of Hell, more in the line of the PT than the OT, with flames, fire, smoke, the red and black color palette. But Hell, here, takes a "carry-on” form. It is less associated with a place than with a moment. Moments of Hell are created on different places, and are usually associated with the presence of Kylo. Hell is a place created by the characters. Like a bat out of Hell (his very distinctively shaped shuttle), Kylo brings Hell along with him, meaning that we have moved from a scenery, a background, to a more psychological interpretation of Hell. The inner turmoil that is tearing Kylo’s apart, his own inner Inferno, is released out on different places: the Jedi Temple, Jakku, Takodana, Starkiller, Crait...

The only place that exists as Hell in itself is possibly the throne Room on the Supremacy, and again, as mentioned before, this is movable Hell, since it is built on a ship...

Another character who seems closely associated with Hell and its representations is Finn, which puts him again in close relationship with Kylo (check the links between the two characters here). The experience of Hell on Jakku in the opening scene is lived through the eyes of Finn. On the Supremacy, in parallel with Kylo and Rey’s hellish experience in the throne room, Finn is here again also facing the Inferno, which takes a very litteral form as Phasma is sent to a fiery chasm (and “hopefully” this time around her death).

There is thus an interesting progression in the saga. From Hell as something very operatic that reflects the characters’ inner turmoils in the PT, but also exists visually on its own ; Hell as a place of trial for the characters, sort of to test their mettle in the OT; Hell as a place that comes from deep inside the characters’ pain and conflict in the ST and can appear at virtually any place.

There is also a recurring theme about Hell and what it brings to the characters in terms of love and romance in specifically each 2nd installment of the trilogies. In every trilogy, the characters find love or admit love at the gates of Hell: Anakin and Padmé on Geonosis as they are about to be sentenced to death; Han and Leia on Bespin before Han is frozen in carbonite; in the throne room scene through the duel and Kylo’s botched proposal, and on Crait when Rose admits her love to Finn. Love at the gates of Hell has quite an Orphean, poetic quality, admittedly... Twice, as for Orpheus, it is about love found and lost: for Han and Leia, and for Kylo and Rey... It can also echo the idea that, as Dante put it, “the path to Paradise begins in Hell”. Love has to be found in Hell of all places in order to lead the way to Paradise.

Not always in obvious places... “Hoth” as Hell

Hoth is a peculiar case. I do believe that it can qualify as a possible Hellish place... for one particular reason... In Dante’s Inferno, the very bottom of Hell, the place where Satan resides, is not a fiery pit, but rather a lake of Ice.

The first depictions of the Devil were not that of a red demon, but rather a blue angel, which for some time associated the devil with cold and ice, as depicted in this 6th century mosaic from a basilica in Ravenna (Italy):

So, taking a page from the history of the devil, ESB starts on a planet that is barely a haven (pun intended) for the Rebels. The middle chapter of the OT is really the “Hellish” chapter, from the opening on Hoth all the way to the Bespin finale. And I particularly appreciate the way they designed places that are supposed to symbolize Dante’s Inferno without once playing on the usual clichés: the “Hoth” (the word always struck me as odd) planet of Ice, and the celestial Bespin. Like Satan is trapped in ice in Dante’s poem, the Rebels are effectively trapped, paralyzed on their icy planet (and I am not hinting that the Rebels are evil, but rather that they fnd themselves caught up in a form of Hell). And they also end in a trap on Bespin, with Han this time literally frozen. Vader, the representation of evil here, is thus not sending Han (and possibly Luke) to a fiery pit of lava, but to a place that freezes them. Back on Hoth, this is a place where the rebels are hardly sheltered and live under constant threats of death due to the terrible climatic conditions or hostile hungry creatures. Note that when Han goes to get Luke, this is what he says:

This is rare enough as an occurence to be highlighted. To my knowledge (feel free to pitch in), there are only two other instances where Hell is mentioned in the saga: by Uncle Owen in ep 3 ( “Well, if he doesn't have those condensers on the south ridge fixed by midday, there'll be hell to pay” ), and in episode 7, when Finn utters the infamous:

Finally Hoth can work as Hell notably because of the wampa figure, which rightly features among the potential satanic or hellish creatures in the very long list of bizarre Star Wars creatures.

Minions of the Devil, Evil Eye, and Satanic Creatures

Just like Hell as a space, some creatures are right in your face Satanic, or meant to embody evil. In the OT, ep 1, this is Darth Maul’s sole raison d’être.

In this interview with Bill Moyers, this is what Lucas has to say about him:

BILL MOYERS: When I saw him, I thought of Satan and Lucifer in “Paradise Lost.” I thought of the devil in “Dante’s Inferno.” I mean, you’ve really — have brought from — it seems to me — from way down in our unconsciousness this image of — of — of evil, of the other.

GEORGE LUCAS: Well, yeah. We were trying to find somebody who could compete with Darth Vader, who’s one of the most, you know, famous evil characters now. And so we went back into representations of evil. Not only, the Christian, but also Hindu and Greek mythology and other religious icons and, obviously, then designed our own — our own character out of that. (...) A lot of — a lot of evil characters have horns. It’s very interesting. I mean, you’re trying to build a icon of evil, and you sort of wonder why the same images evoke the same emotions.

Ok, so basically, as avowed here, they just wanted a very visual embodiment of evil, something that could rival Vader in ep 4. Except that, as iconic and mesmerizing his look was, he didn’t say much, didn’t do much except jump about (indeed beautifully), and we know nothing about him, his motives, his purpose. Looking evil does not make for a great villain. And we knew this was not the big bad guy, just a henchman...So, not Satan, but a minion of the devil. And there are plenty of other aliens that dress the part just as well. Take for instance that cute as Hell guy from episode 4, found in Mos Eisley cantina:

He sure looks the part, complete with horns. He is just a cameo, though, to add to the list of nightmarish creatures from the cantina. To Luke and to the audence they were meant to be scary, shady, and strange. Were they truly evil? Obi-Wan had warned Luke: “You will never find a more wretched hive of scum and villainy”. So, I guess, yes? But this is also where they found Han and Chewbacca, and despite shooting Greedo first, Han turned out to be “nice men”. So maybe Satan horny guy would have been chummy on second thought?

Another interesting creature with horns is that one:

This is not a minion of the Devil, he could almost past as a furry fuzzy yeti. But the wampa, from planet Hoth can work as a hellish creature. It’s got the horns, it captures Luke, and threatens to eat him. Interestingly each first installment of the saga presents a scene where the heroes have to face creatures that seem to come straight from Hell and threaten to devour/eat the heroes: the aquatic monsters from the core of Naboo (note that Anakin IS NOT there), the creature from the trash compactor that attacks Luke, and the Rathtars that run loose on Han’s vessel and almost get to Finn... A reminder that Hell can take many different forms. And, if you think about classical representations of Hell, the Devil is often seen as devouring his victims:

Of course, you can also interpret these creatures, devouring exclusively men, as a representation of the threatening female mother/genitalia (vagina dentata) or you can think about the belly of the whale in Jonah’s story and take it as a rebirth... Talk about rebirth to Bobba Fett or those Kanjiklub dudes...

Other specimens that threaten to devour the heroes, and could be viewed as possible Hellish creatures:

The nexu and the acklay in AOTC

The space slug in ESB

The Rancor and Sarlaac in ROTJ

Not to mention the most dangerous of them all:

Yup, without the help of powerful magic (or snacks), this carnivorous savage furball will hunt you down and feast on your flesh!!! Need any proof besides Han tied up to get BBQed? They even did a Forces of Destiny episode where Leia was saving the lives of innocent stormtroopers about to become dinner:

Joke aside (for you Ewok lovers), meeting wild animals (possibly in a forest, I see you, damned Ewoks!) is also part of Dante’s journey to Hell. At the very beginning of the poem, before starting his descent, Dante is attacked by three wild animals: a leopard, a she-wolf, and a lion. With just a bit of a stretch, you can find this idea in the arena of Geonosis with the three alien beasts set upon Padmé, Obi-Wan, and Anakin.

The first two trilogies seem to play with the devouring beast trick more consistently than the ST which just offered the rathtar. Devouring beasts were conspicuously absent from TLJ. Even though there was the shadow of a threat through the gigantic sea creature that roamed the seas around Ahch-To, the animal remained distant. On the contrary, animals were feasted upon: the porg, the fish, the milk from the Thala siren, which was a strong departure from the usual trope. It will be interesting to see what episode IX offers in that scope, but if the devouring beast remains absent, I think it will go along the line that I already suggested about Hell. The devouring creature is no longer an OUTSIDE/OUTER threat to the heroes. Rather, the devouring creature, the one that can consume you inside and out, is WITHIN yourself, in your heart and soul. Moreover, the devouring beast in TLJ was also the role taken by Snoke on a symbolic level, as an echo to Palpatine who preys and feeds on people’s suffering and weaknesses.

I would like to come back to the Dianoga from episode 4 though, because, on the screen, it does not appear as a toothy fearsome creature, but as an eye. The concept of the “evil eye”, that is to say the idea that a mere glance could curse you and bring you harm, can be found in many cultures throughout the world. It is probably a corollary of the idea of the omnipotent everseeing eye of God. The evil eye is not necessarily associated with the Devil himself, it usually comes from a person who is envious. Nevertheless, in The Lord of the Rings, Sauron, who is Evil incarnate, is materialized as an Eye, red, fiery, reptilian shaped. Equivalent “evil eyes” can be found in Star Wars. It can take the form of just one eye, as with the Dianoga, the gatekeeper’s device in Jabba’s Palace, and more interestingly, Starkiller base, which, with its cannon, looks, especially on the posters, like a one-eyed monster and brings new massive meaning to the notion of “if looks could kill”...But it can also be materialized in the evil Sith eyes of Maul, Anakin, or Palpatine. But note that Anakin’s evil eyes come and go, and that not all the villainous characters get the evil eye treatment: it never shows up in Count Dooku, Snoke doesn’t have them, and Kylo never has them either...

Who’s boss? Satan, Lucifer, and their Legions

As we have seen, there are many possible Hellish creatures in Star Wars, but, like Sauron’s ring, is there one to rule and bind them all? There is an important divide to mark here, a dual personality in Evil, that echoes the very way the figures of Lucifer or Satan have been evolving and developed. Most people now tend to fuse the two, but they can be viewed as two rather different entities. As this article sums up:

1.Lucifer is the highly favored angel created by God whereas Satan is his name when he was thrown away from heaven. 2.Lucifer is an angel of God whereas Satan is the name of the devil. 3.Lucifer is not the exact opposite of God whereas Satan is a name that pertains more to opposition. 4.Lucifer has a physical form whereas Satan does not have any.

Lucifer’s name comes from “the carrier of light”, an essential idea in the scope of Star Wars, and in this respect, Lucifer’s embodiments can be found in Anakin and Kylo. Anakin, like Lucifer, is a creature that comes straight from the highest power (God/the Force), and is the chosen one, the favorite, the most beautiful of all the angels. In his casting of actors for young Anakin, George Lucas picked a blond blue-eyed boy with cherubic potential (who incidentally is the only one of the saga talking about angels), and a hot up-and-coming young actor. Anakin is designed to be attractive. Like Lucifer, his tragic flaw is also his pride and hubris, and his desire to play God, which shows right at the beginning when he boasts himself of being the best pilot (he has never won or been in a podrace before) and the fact that he has designed, on his own, a sentient character (C3P0). Anakin rebels to the Jedi Council the same way Lucifer rebels to God: like angels he can’t marry or father children, he is not allowed the rank of master and must keep on bowing down to others while being better than them (Lucifer and the mortals). Anakin is clearly portrayed as a fallen angel, who, like Lucifer is punished and sent to the visual fiery Hell of Mustafar, and encased forever in his own personal Hell, the loss of the woman he loved, and probably endless physical suffering in the persona and armor of Darth Vader. But does Lucifer become Satan? Even though Vader was a striking embodiment of evil and a mesmerizing villain, he was immediately presented in ANH as a henchman and not the main boss. Even Leia was not afraid to tell it as it was:

And he appeared very subservient in front of the Emperor, which disqualifies him, in my view, as Evil incarnate. Vader is NOT the boss. This is the greatest irony about Vader: as a little boy, enslaved, he dreamed of living a free life, and he ended up bound up forever to his master, as well as to the apparatus that maintains him alive. You can call that survival, but this is truly a pathetic life. Though Milton chose the name Satan for his poem, his character is actually closer to Lucifer, the Fallen Angel, a tragic figure with undeniable seductive appeal through his intelligence, his infectious and passionate speeches, his sadness and torment, which make him, arguably, the perfect “anti-hero”,a romantic figure. Milton’s Satan claimed that it was “better to reign in Hell than serve in Heaven”. Maybe that was Anakin’s idea, but he never got to reign, even though the thought apparently stuck with him all these years, from his initial offer to Padmé to his offer to Luke to “rule the galaxy” together.

Enters Kylo, who presents striking similarities with Grandpa Vader. Like him, as a child he gets to struggle with a tremendous burden: Anakin is set out as the “chosen one”, Kylo as “the legacy child”, both with “raw, untamed power” that is unknown to any other Force sensitive, which makes them the beloved of the Force. Like Anakin, Kylo’s character is designed to be seductive, wavy hair and shirtless scene included. Like Anakin, he is a fallen angel, and his patricide aligns him with Lucifer’s attempt at defeating God (aka the Father). Kylo is not immune to pride or hubris either, but just like Anakin, he also finds himself ironically in a subservient position. Seductive in their youth, they both don the costume of evil and its outer signs (black, fiery red saber, satanic crossguard for Kylo, dehumanized mask), but the main difference is that evil has consumed physically Anakin. Vader is the ONLY persona he has left to survive, whereas Kylo merely plays the part. He is still very much human, and very much Ben Solo, as Snoke keeps reminding him.

Both men have been manipulated since childhood by an older man/humanoid who has twisted their minds and hearts and finally gets them to contract a Faustian pact that -as all pacts with the Devil- never delivers. In both cases they do not become more powerful than they were before, and the price must be paid with the blood of their families/loved ones.

If we look at the distinction between Lucifer and Satan, Vader and Kylo can appear as the physical manifestation of Evil, ie Lucifer, the fallen angel, whereas Palpatine and Snoke, who incidentally most of the time appear under a holo form, are more like Satan, the ghost of Evil who needs to borrow/possess other physical forms to engineer his evil deeds. As French poet Charles Baudelaire penned in the 19th century (and quoted from in Th Usual Suspects): “ the loveliest trick of the Devil is to persuade you that he does not exist”. So both Snoke and Palpatine rely on holo forms, traveling, remaining away, hiding in the shadows or under a cloak. Even though the audience (who is familiar with the OT) know from PM that Palpatine is the elusive Darth Sidious, the Jedi Council is unable to identify him through 3 full length movies (!!!!). Like the Devil, he is the one whose very existence is constantly doubted, hiding behind different forms such as the Federation ViceRoys, Darth Maul, Count Dooku, General Grievous, finally Anakin/Vader, a form of demonic possession if ou will. Even Padmé and JarJar become hosts to Palpatine’s infectious powers, as they innocently do his bidding and become his puppets in the Senate. In the OT, the Emperor was conspicuously absent in ANH, and appears for the first time solely as a hologram in ESB. Disincarnated, the Emperor is the best embodiment of the spirit of Evil, nowhere to be found, and thus potentially everywhere, in his henchmen, but above all in the very satanic notion of his “legions”, aka the stormtroopers. Indeed, in Mark 5:1-20, Jesus exorcizes a man possessed by a demon and when asking the demon his name gets this all-too famous answer: “My name is Legion,” he replied, “for we are many”. Whereas the Emperor and Snoke in TFA remain hidden, the galaxy -and the screen- is filled with their legions, droid army, army of clones, stormtroopers, disposable, replacable...

And indeed, when the Empire collapses, the First Order rises right away, evil ready to take another form, moving effortlessly from Palpatine to Snoke... When the figures of Palpatine and Snoke are revaled though, it is with all the usual Satanic codes and paraphernalia. In the PT, Palpatine gets the creepy treatment, with the maniacal laughter, the hooded robes, the evil eyes, the blue devil with horns at his side, the red room, AND the very not subtle art flair in the background that looks like a depiction of Hell:

In the OT, he gets the red guards by his side, and the spider web motif of the Death Star in the background.

As for Snoke, he gets Satanic garrishness through red and gold, in the throne room scene.

Yet, both these satanic figures get defeated eventually, and, according to some critiques, rather quite easily. So what’s the point? Well, the point is how and by whom they get defeated in the first place! Every time it is by the Lucifer figure, ie Anakin and Kylo, the ones that were seduced and corrupted, highlighting once again the dual nature of evil, and meaning that evil is not something that is supposed to be found OUTSIDE of our nature, but WITHIN. Every time, the fight with Evil is first and foremost a fight with ourselves, our very nature. So it comes down to each and everyone to defeat the source of evil, no hero can come and do it for us. It is very important and revealing that neither Rey nor Luke were the ones actively killing Snoke/the Emperor. The “villains” have to become the agents of their own redemption. Even if this redemption is made possible through the love they feel for the heroes ready to die for their rescue.

It is even better that Snoke died earlier in the story of the ST than many had expected before. Because it forces us to question the nature of evil. It is easier and more comforting to lay the blame and point fingers at the very obvious figure of evil, the Satanic paraphernalia, the scarecrow, the snoke and mirrors if you will, as in The Wizard of Evil. As the obvious villains, Palpatine and Snoke serve a function: they are the gold villainous standard to which we are asked to compare our resident other villains, Vader and Kylo. And, of course, the very fact that Snoke and Palpatine are indubitably irredeemable means that, logically, the other two are indubitably redeemable.

The position that Kylo finds himself in at the end of IX is a first, though. Vader did not survive his master, but again, he was too far gone for us to imagine him with a full redemption arc. He could die, but he could not be reborn. With Kylo, the potential is still very much in the open. What Kylo finds himself facing after defeating his inner demon (aka Snoke) is actually what remains after the fall of the scarecrow : the mundanity of evil (as Hanna Arendt called it). I would not necessarily call Hux mundane, but, just like the officers from the Death Star in ANH, they are not supposed to be the big “in your face” Fairy Talish villain. They are the legions, the brainwashed masses, the military honchos, the war profiteers, the obedient soldiers... Once the curtain is pulled (or burned down in the throne room scene), this is the harsh reality of evil that remains: the Huxes, the Tarkins... Yet, even there, hope remains. In introducing the character of Finn, the ST shows that, from within the very masses that represent the legions of evil, change can also come. The ST gives to the mundanity of evil a potential redemption. I was actually stunned when reading the Junior novelization of TFA by the importance given in chapter 1 to Finn as FN-2187 and his interactions with his comrades, who are given nicknames, voices, and an identity. We know that a scene was deleted in TLJ with more of these interactions. I wonder if episode IX is not going to be more straightforward about that and show how Finn was not, as Phasma called it, a mere “bug in the system”, but a foresign of deep structural changes...Fighting Hell and Evil is not just the stuff for mythical heroes facing dragons and monsters, it is, even in Star Wars, an individual quest (Anakin, Kylo), and something even a stormtrooper, or a nobody, can fight and possibly win.

If we go back to Dante’s Divine Comedy as a literary influence, we must remember that the progression is that of a descent followed by an ascension: first into the deepest pit of Hell, then up through Purgatory, to finally ascend into Heaven. Obviously, the purpose is supposed to be uplifting. It celebrates Redemption through the power of Love, and Faith in God. As much as a physical journey, it is also, of course, a spiritual journey. Something that resonates deeply in the star Wars saga. If each trilogy contains elements here and there, places of Paradise, places of Purgatory, and places of Hell, in order to make sense with the different mythical and religious themes embedded so far, the saga as a whole needs to follow the same path. So the PT is about the trip to Hell (Anakin’s fall), the OT can work as Purgatory as it is very much about expiation, cleansing, and purifying, and yes, normally, the ST is supposed to be about a spiritual ascension, and the redeeming power of love. In Dante’s final vision, women (through the Virgin Mary and Beatrice) and their compassion play an important part. It seems like women are taking a bigger part in the ST. And the last lines of Dante’s poem are really noteworthy in the scope of the saga as a whole :

But by now my desire and will were turned,

Like a balanced wheel rotated evenly,

By the Love that moves the sun and the other stars.

We could argue that the PT is very much about desire (Anakin), and the OT very much about will (Luke). And, in a way, the ST is very much about what happens when will and desire have to co-exist and balance each other out. Rey and Kylo are undeniably a mix of both. And, it is my personal belief, like so many other fellow bloggers, that the point of the saga is to be, like the final line of Dante’s poem, about balance. And I am quite partial about this idea that love will move the sun and the stars... like the Force. Moreover, when reading the quotation from The Journal of the Whills in the novelization of TFA, something really struck me: the “refined Jedi sight”. In Dante’s final vision, an emphasis is definitely put on eyesight, and the way eyes become “crystal clear”. Between Rogue One and TLJ, crystals seem to take more and more importance in the conclusion of the saga...

Remember, the path to Paradise is through Hell, and, guys, ascension is on the way . Buckle up!

#reylo #reylo fandom #reylo fam #reylo meta #star wars meta #star wars parallels #paradise and hell in star wars #hell in star wars #satanic creatures in star wars #kylo and anakin

454 notes · View notes

thomasroach · 5 years ago

Text