If Vader Dad-joked His Way Through The Star Wars Series

If Vader dad-joked his way through the Star Wars series

Archives at the Last Jedi Academy (pt. 1)

Story excerpt discovered in the databanks of the wrecked ship.

Passed down in her family, on her mother’s side, she had learned many ancient and distant arts: to write on manuscript in longhand was one of them. Years of training had made her manuscripts live despite it being merely ink on flattened and dried pulp of trees or shrubs. Legend had it the more skilled artisans had the power to control minds with the mesmerizingly beautiful design of the words.

Darkness cradled the bright pale blue orb of light where she sat in the closed archives building. Her entirety fixed on the almost finished page in front of her, her hand working automatically moving the ancient instrument across the parchment, using other senses than sight to direct it into the ink, the silver nib playing the notes a slow melody with each rhythmic dip.

By the time she sensed his presence, Ben was already in the room. The instrument instinctively lifted off the parchment at her startle. “The archives are closed.” His voice violated the quiet in which she had absorbed herself. She set down the instrument and put her hands in her lap as if in passive resistance. She stared at the nearly complete work in front of her. Then she felt embarrassed, compelled to pull it to her, to throw herself over it to hide it. But upon that thought she felt her muscles slip into his control. His footsteps sounded so loud and heavy as he approached. The only part of her that she could move was her eyes that stared at her art in a futile attempt to move it with the Force then away to avoid seeing his reaction.

She had taken the conclusions of her latest research into Darth Vader and used the sentence structures as the shimmering black lines forming the images on the page. These images framed a box of marbled silver and violet text in which she wrote her findings that led her to her conclusions. She feared embarrassment over her fascination with Darth Vader: fascinated by his fall, the Jedi wanting to learn lessons from his decision to join the dark side, her culture sympathizing with his skeptical perception of authority.

When she had first arrived and became acquainted with her fellow padawans, she had heard rumors of Ben’s fascination with Darth Vader, as well. However,

that was his grandfather, and it didn’t seem unusual. For her, she worried that not being his kin might be seen as inappropriate or an unhealthy interest for a Jedi in training. She was in awe of Master Luke and compelled to observe Ben any chance she got. Here was the kin of Anakin Skywalker, the subject of her youthful study, in her immediacy.

Part of her felt a thrill being this momentary target of his attention, and most of her was terrified of the mortification and discipline to come for breaking the rules. He paced in front of the table, his view unwavering from her expressions on the page.

She closed her eyes feeling the seconds slow and in that moment of her mind she saw the mountains of her home planet, and her vision zoomed in on her grandmother’s home, a gathering; she felt the warmth of a fire and smell of the brew, the way her uncle had prepared it for every reveal, the occasion the young people of her galèa completed their training of their art and revealed their creations on which they had spent years drawing the words. She clenched her eyelids together and the tears spilled this memory over into the present. She drew in the chilled archive air through her nose, opening her eyes wide to use the only muscles that she controlled to gasp since the breath she drank in wasn’t enough to shrink the lump in her throat. Upon the sound of her gasp, he released his grasp.

“Why do you make these writings more intricate and complex than they need to be? The same ideas can be expressed in simple Aurebesh. You would not need to violate the rules to spend your time in here to record such intriguing ideas.” For all the intimidation she had felt since she arrived at training and the intensified apprehension she felt being caught by him violating the rules, her irritation flooded over it. The ignorance of not knowing the significance of the art of her people, the lack of knowledge that the expressions demanded the intricate artwork for the ideas to be captured in the way they demanded and the disappointment that these were the first words ever spoken between them pumped relaxation and confidence through her.

“Simplicity is not best. It often just the easiest.” She stood up to look right into those dark eyes. All her adolescent hormonal attraction to him dissolved and she put on her bag and began gathering her styluses into it. She bit her lip to suppress the urge to throw the remaining inking compound that she had spent days perfecting at him. He glanced at the vial as she thought it.

“You want to throw that on me.” He said and smirked. That irritated her more. She capped the vial with a firm slap of the cap. She captured a deep breath so that she could carefully pick up the parchment and leave. As she reached to cradle the edges of the document to pick it up, he stopped her, not by exerting the force, but by placing his hand on hers. It felt as if their contact compelled her to inhale and through her mind whispers of feelings - chaotic, desperate, calm and fierce - spilled from him. She looked at him and he did not move his eyes to meet hers. He looked for a moment at his hand touching hers then moved it. His sights then caressed each letter, each word, each thought collaged on the page. She wanted to leave, but she wanted her creation. She interrupted him.

“Sir. May I leave?” He looked up at her and stepped back from the table. “Am I in trouble?” Her fear returned. His head shook slightly then more intentionally. She slipped the parchment from under his hand as she turned to hurry out. It was this beauty that halted Ben from leading her from the archives to Master Luke. He saw the method of her note taking, compelled to read it, the ideas she had found about the ambiguity of right and wrong, of light and dark.

© Sheila Wright and Squire of the Knights of Ren, 2017. Unauthorized use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Sheila Wright and Squire of the Knights of Ren with appropriate and specific direction to the original content.

Cognitive Struggle Experienced, Simultaneously, by the “The Force Awakens” Audience and the Film’s Villain

A Sith Scholar work-in-progress (Draft of the first section of my current academic research)

I'm addicted to and obsessed with Kylo Ren. There is this conflict amongst the Star Wars audience about this character, a conflict that parallels the conflict he feels between the light and the dark side (Writers usually have intent behind every aspect, every word (or at least they should) in everything they put on a page, and I think they are cognizant of this conflict, implicit in it). Ren/Ben is the son of one of my favorite couples, and I can't remove him from my head, and I find myself trying to understand his point of view, empathize with him attempting to research the cognitive and emotional processing he may have experienced when hearing the stories about Vader. I have to admit there is the lust factor, too. I had never seen this actor before The Force Awakens, and my attraction to him increases my desire to take Kylo Ren's side in this whole matter, and I'm finding those reasons to take his side, which frightens and fascinates me.

I wrote that expanded response on Facebook to this question: “Who is your favorite Star Wars villain?” Darth Vader and Princess Leia were my favorite character of Star Wars: A New Hope. Boba Fett tied Leia and Vader as my favorite characters after Star Wars: The Empire Strikes Back. So two of my favorite characters, not just of the villains, but of the entire cast of characters, represented the dark side.

When I saw The Force Awakens (TFA), I felt how my love for Star Wars consumed many of my moments – wake or asleep – that I have no control over its powerful pull. Han Solo’s death really impacted me. I became fascinated by the strong emotions in that scene, why fictional characters could be such a part of my psyche that when one was killed and the other was being lost to a life of dark choices, that I grieved intensely. That level of grief surprised me, and I felt ashamed for having such strong emotion for a fictional character. But that got me thinking how is it even possible to feel such a real reaction from fictional characters? How does a text achieve that?

My intent is to examine the cognitive connection to emotion in TFA, particularly those felt by Kylo Ren and about Kylo Ren by the other characters and the audience. “Links between cognition and emotion have been acknowledged within neuroscience and psychology (e.g.,Damasio,1994).This paves the way for psychological and philosophical theories of emotions and affect in cinema (Grodal,1997; Plantinga & Smith,1999; Tan,1996; Vorderer et al.,1996), providing a complement to psychoanalytical and sexual approaches to emotion” (Persson 38). Because neuroscience “acknowledged” these “links between cognition and emotion,” there needs to be an examination of the TFA using “psychological and philosophical theories of emotions and affect in cinema.”

Degree of Innate Sadism in a Human Being

In The Force Awakens, the neurology of a terrible act is manifested in Kylo Ren’s face after he kills Han Solo. We see the endorphins released as a result of an act of patricide.

It takes a moment for Ren to process the action, which is described by Holland:

“perceptions going to and from the amygdala immediately arouse feelings of fear. The amygdala has two kinds of output. One process creates a rapid response. It projects directly to the hypothalamus…and then on to the brainstem and spinal cord to move the body.” The “second…process is more cognitive. The signal has gone more slowly from the amygdala to the frontal lobe which evaluate the stimulus and reaction” (91).

In The Force Awakens, the audience sees it took Ren a moment to process what he had just done to his father. He had admitted during that scene that he is conflicted, so he did feel love for his father, and the loss of his father could cause pain. There is a moment of disbelief in his face, then he gasps, perhaps with grief, some pain, and then his pupils dilate; his eyes widen as if a drug has just been injected into his body, calming him, then making him relieved, anticipating euphoria. The reward center of his brain is activated.

In “Cruelty’s Rewards: The gratifications of perpetrators and spectators” it explains, “It is incomprehensible that the infliction of pain on the self is both pleasurable and also sexually arousing. This unlikely conjunction has long puzzled moral philosophers and psychologists.

This is Ren. Finally choosing a side may have brought Ren comfort to a life where he felt a lot of pain, abandonment, resentment. He may have felt a moment of pleasure, but there is debate whether he feels the relief this resolution was to bring. Then my reaction was, despite him just murdering a beloved character and sending from me a cry of grief, in the theatre, I still found him arousing, but, initially kept those pangs of lust to myself. I took pleasure in him, before, during and after this horrific act, and, although evidence says humans do that, it doesn’t mean that humans aren’t ashamed of feeling that way. Ren serves to show us a side of humanity that we may not like but is biologically a fact. Humanity’s sadism is innate.

Yet, using functional magnetic resonance imaging (fMRI), Becerra et al. (2001) report that a pain stimulus (a probe heated to 468C applied to the skin) activated the brain’s reward circuitry, following a pathway similar to that of the pleasure response: protein from the cfos gene shows “that many neurons in the amygdala that are aroused by aggressive encounters are also aroused by sexual activity” (Panksepp 1998, p. 199): the underlying motivation may be the seeking of safety (“Cruelty’s Rewards”)

Kylo Ren reveals the biology of being sadistic. However, the film does not keep us as mere observer of a sadistic person. The audience becomes implicated. Lisa Zunshine explains that in films, when a character is in pain that the camera turns away, that people turn away when another person is experiencing a strong emotion. People don’t want to look at a character’s face when they are feeling a strong emotion. Zunshine describes:

The same effect is achieved when other characters refuse to watch an individual who is experiencing strong emotions and the camera moves away from him or her at a crucial moment. The assumption behind this strategy is that sometimes people’s faces expose their feelings to such a degree that they become painful to watch, unless a person who watches has a sadistic streak. It is transparency by omission: we can’t see the actual face, but our imagination magnifies its emotional nakedness. (93)

The camera focuses on Kylo Ren and his father’s (Han Solo’s) face during his act of patricide. The audience is forced to have a sadistic streak because the filmmakers show us the face of a character in pain and the scene of Ren crying then killing his father. The audience is the characters in the film that did not turn away--the Stormtroopers, Finn, Rey, and Chewbacca--and the theatre audience. It is not too painful for them to watch. If Zunshine concludes that only a sadistic person would watch, then all of these witnesses are sadistic in not turning away from the strong emotions being shown on Han Solo’s and Kylo Ren’s faces. The humanoids and wookiee have a certain degree of innate sadism. Kylo Ren’s actions make us question if our sadism any worse than Kylo Ren’s patricide?

Kylo Ren takes pleasure in the pain of killing his own father just as the audience takes pleasure in the pain and these strong emotions because they do not turn away. It shows us a side of humanity that is sadistic, biologically. Human beings have a degree of innate sadism. Do we feel it as a flaw and does that reality then cause us pain? And if pain stimulates the reward center of our brain, do we experience a smidgen of euphoria, perhaps a small delight in this dark side of ourselves that we’ve found?

Our strong emotional response to the murder of Han Solo is the result of the feelings we bring with us to our viewing of TFA. Kylo Ren is the son of our favorite scoundrel and we get to “see” some of Han in him in scenes where he has humorous lines [need to include link to video of this]. And some of us felt pangs of shock amongst sympathy when he finds out that the droid he’s seeking is with his father; his voices cracks when he eeks out “He means nothing to me.” and he asks for Snokes help “By the grace of your training, I will not be seduced.” He is at the end of this scene alone, small on the screen in this dark room. His parents sent him away, Snoke questions his ability to resist the light and he is alone –it’s hard for me not to feel sympathy for him. Holland explains that we care for those in a fictional text because in “Creating or responding to literature, we bring such emotional markings and memories to bear, and, like direct emotional stimulation, they operate outside of conscious intellection, Darwin’s ‘reason’” (92). The emotions we bring to Kylo Ren are that he is the child of our favorite couple. He is the son of Han Solo, our favorite scoundrel, smuggler turned hero, lover of our favorite princess, who we also love and hope for, and we bring those emotional markings to our acquaintance to his son. We want their son to be good, for them, for us so that we don’t have to deal with the pain the fall of their son would bring us.

I find it difficult to accept Kylo Ren as lost to the dark side, someone to label as evil. I am desperate to “solve” why he chose the dark side, that there were forces within his biology that made him susceptible to the dark side. I am even willing to question that which we label as evil, to look at the intentions of people who commit terrible acts to find something that will relieve him from some of the blame. As an audience member, it is hard for me to accept that the son of Han and Leia is responsible, to blame for what has happened to him.

But as a text, that pain of that tragedy brings us pleasure. I am compelled to watch TFA repeatedly. Does the audience take pleasure in the pain of the Skywalker family saga? “We enjoy ugly or threatening things in art because we are seeking---and finding. Both the act of seeking and the act of removing the threat and incorporating painful things into our normal mental functioning yield pleasure (Holland 247). We watch emotionally wrenching films because it affects the reward center of our brains.

“Evolutional psychology provides, I think, an explanation. Dead bodies, “low” animals, rotting food—these all represent potential threats to our survival and reproduction. Our brain insists that we pay attention to them because we may need to do something about them. To trigger those actions, we look at the ugly and painful more intensely than we look at blander sights” (Holland 248).

We are so compelled to watch this emotionally wrenching scene of Kylo Ren killing Han Solo not despite the emotional pain it causes because we need to experience that emotional pain - it sharpens our senses. Witnessing pain is biologically beneficial.

Kylo Ren tries hard to seem like an unsympathetic character. When he murders Lor San Tekka and the villagers at the beginning of the film, interrogates Poe Dameron, threatens Hux, he is a cold, menacing figure. However, when he learns that the droid has escaped the squadron’s attempts to capture it, a bit of his father’s sarcasm comes out. The lieutenant reports to him that the droid “escaped on a stolen freighter.” Kylo Ren replies, “The droid stole a freighter?” It is a similar sarcastic reaction of disbelief comparable to Han Solo’s sarcastic reactions. We begin to see another dimension of this villain.

And soon after when he finds out that the droid was helped by the Finn, the Stormtrooper who freed Poe, he ignites his lightsaber and violently smashes the equipment in front of him. Another dimension revealed through this emotional outburst. We find humor in his tantrum because it is such unstable, childish behavior. These tantrums resulted in a laugh from the audience, and seems to be a pattern of behavior that those who work for the First Order have come to expect (when the Stormtroopers turn around when they see Kylo throwing a tantrum after Rey escapes). Humorous as these tantrums were, it demonstrates his disregard and willingness to destroy anything to express his emotions. He is dangerous because having a temper, albeit mostly something he can control, may also be caused by chemical imbalance over which he may have no control “These findings suggest that greater acute and chronic pain responsiveness associated with trait anger-out may be due in part to impaired ability to elicit endogenous opioid analgesia.” (Breuhl 224) That is a frightening person to be around. Does he have tantrums also because of acute psychological pain? His dimensions are growing.

But when we learn that his father is Han Solo, we can no longer see him as a two dimensional villain. He is the son of our beloved scoundrel. We get our first pangs of sympathy. This is created by the aforementioned scene of him alone in the large room where he communicates with Snoke. When Snoke tells him that his father, Han Solo, has the droid the First Order has been pursing, he replies that Han “means nothing to me.” His voice almost cracks as he can barely get himself to utter these words. Sympathy builds.

Snoke doubts him, “Not even you, Master of the Knights of Ren has ever faced such a test.”

“By the grace of your training, I will not be seduced.” Kylo Ren replies.

“We shall see. We shall see.” Snoke says as his hologram fades away. When the master Kylo Ren is trying so hard to impress doesn’t think he has the strength to face this test of hunting down his father, he feels alone. The only being he feels he can get approval from is doubting him. It could be approval he had failed to get from his father and now seeks it from Snoke. And he is alone. So he stands in that room, the one stream of light a spotlight on him. The camera is watching him from across the room to his right.

The height of the room is 10 times taller than he. The entrance and back wall of the room cannot be seen within the limits of the screen. His figure is dwarfed by the room and its dark cavernous emptiness. He stands in a room for a moment after Snoke disappears in silence. The expression of our reaction might be to dislike him more for knowing he chose the dark side, but then we feel pity because we feel he is misguided. And we want the son of Han and Leia back.

Now we have developed sympathy for a character who has made us aware of our innate sadism. We are reminded of the pleasure he derives from the pain of others, reminding us of our same innate sadism. He enjoys causing Rey’s transparency and enjoying the spectacle of it. He finds pleasure in the power to expose her deepest feelings against her will. Zunshine suggested “if you are a writer and you want your character to remain sympathetic, you don’t put her in a situation in which she begins to enjoy the spectacle of someone else’s transparency, thus coming across as sadistic. (97) Ren enjoys the spectacle of Rey’s transparency as he reads her mind. It’s a transparency he imposes upon her, a result of a violation. We begin to feel sympathy wane because of his sadistic cause and enjoyment of her transparency. The reward centers of his brain must be activated because he knows that if he gets the map it will increase his odds of survival – in the sense that he seems so dependent on approval for life to mean something and in the sense that if Snoke doesn’t feel Ren’s strong enough, he could destroy Ren.

We feel sympathy for Rey as she is made vulnerable. However, Rey reciprocates and through his violation of her, she is able to violate him and see his deepest fear and enjoy the spectacle of his transparency. She risks becoming unsympathetic by taking advantage of his transparency, definitely having the reward center of her brain activated because her violation of his mind is helping her survive. Both are finding involuntary pleasure violating each other in order to survive their respective threats. In addition, the audience is privy to their moments of transparency and find it pleasing in that it’s activating our reward center so much that we are fixated on it and cannot turn away.