Last time I shared the first half of the exciting archive of historic unused Things. In this second half, I’ll cover music, games, writing, and some data visualisation. Enjoy!
I was collecting examples of music where I felt the production process was the main contributor to the quality of the song (rather than the songwriting or performance), examples being Britney Spears – Toxic, Mark Ronson – God Put a Smile on Your Face, and the Space Channel 5 theme tune. Then I wondered if actually I just like crisp brass and distorted orchestral sounds, and have no ear for production at all, so wasn’t sure whether I could meaningfully comment. But listen to those songs as a set and see what you think!
Putting a record of important sounds from earth in a spacecraft and shooting it out of the solar system is pretty speculative (although I’d argue we don’t know enough about the parameters in the Drake equation or the full potential of technology in this universe to know just how speculative) – but is also a profoundly optimistic and beautiful act, so I’m really glad we did it.
Some trivia that hilariously undermines the beauty of the gesture: EMI refused permission for The Beatles’ “Here Comes the Sun” to be included; and the engravings showing what humans look like (naked) were actually censored and therefore inaccurate.
Copyright issues have always made it challenging to listen to the full Voyager track listing on earth, but the copyright-subverting hydra that is YouTube solves this problem, and I highly recommend making time to appreciate the playlist.
I previously wrote about game-maker Jason Rohrer in Things 121 (specifically on Chain World, a game intended to become a religion). In 2014 he released The Castle Doctrine, a game about gun-ownership through the medium of PvP house-security design and burglary. Players design a secure ‘house’, with the restriction that it must be possible to break into without tools; they then try to break into other player’s houses to steal loot, and then store that loot in their own house and hope their design keeps other thieves out. Total loot owned is public, so a nice feedback loop emerges where a more successful player will attract more burglary attempts.
The challenge for such a game design is you need to come up with creative opportunities and restrictions that will emergently lead to players creating a huge range of fascinating house-designs. I particularly enjoyed the systems-design reasoning at work in Rohrer’s post on some of the design changes he had to make in response to players converging on clever (but boring) solutions.
In mobile games, the mind-bogglingly successful Clash of Clans (and its many clones) operates on a similar basis with (very) light real-time-strategy gameplay, but the strategic variety seems ultimately quite weak. I’m more impressed by King of Thieves, also operating on the same idea but with single-screen platformer gameplay. It’s free, so if that sounds at all interesting you should check it out (on iOS and Android). Unfortunately the late-game becomes about pixel-perfect jump timing which is a bit less fun.
I can’t remember what I was thinking when I added this link, but perhaps that in itself is telling: Kottke’s extract from an Adam Phillips interview, “The need not to know yourself“.
I suspect that procrastination is a challenge for a large number of people, and found that Quora has a collection of highly upvoted answers. I personally found the best approach is a mixed strategy: trying lots of things in sequence. So this is a good place to go to find lots of ideas.
“the invention of the novel privatised myth, because the novel, invented after Aristotle, did not have a holy book. The novelist was on his own. Sometimes he’s even a she. There were no rules.”
“As they became professional, writers began to write about writers. As they became academicised, writers began to write about writing.”
“You may think that to praise The Simpsons at the expense of Henry James makes me a barbarian. Well, it does, but I’m a very cultured barbarian. The literary novel has gone late Roman. It needs the barbarians.”
There was an article about a trend online to use “?” where formal writing used a hyphen, for example:
“The greatest pleasure of all – the categorisation of minutiae.”
“The greatest pleasure of all? The categorisation of minutiae.”
I felt that captured something I’d seen and been annoyed by, and figured I would collect some examples. I guess shortly after that I just started to accept it and didn’t collect anything, and then couldn’t find the original link, leaving this a bit of a non-thing. Although I think the fact I abandoned it is at least somewhat interesting.
In November, Things will be 10 years old. Since the beginning, I’ve collected an archive of interesting things, and at various intervals then created Things out of that archive. I tend to collect slightly more things than I publish, so the archive has grown. Rather than cull it, I’m going to just put them all out in two big catch-up editions. In this edition: Stories, Technology, Imagery, and all the Puzzles. This is going to be intense!
This Just In
Before I get to the archive, a couple of recent things.
Damien Henry’s video for Steve Reich’s “Music for 18 Musicians” makes excellent use of machine learning for art. Using video shot from a moving train, an algorithm learns how to predict what the next frame will look like. Every 20s into the video the amount of learning used increases. The result is fascinating, and perfectly complements the music. You can skip through the video to get an idea of the effect, but it’s best played in full!
There is an awkward vein of humour in which comedians interview (often) unsuspecting subject-matter experts in a non-serious manner (Philomena Cunk interviewing Brian Cox is one I don’t mind so much). Superficially, Werner Herzog sometimes takes a similar approach in his documentaries (noted in Things 118 in 2012, “Please describe an encounter with a squirrel”), but there is a hidden earnestness behind his questions. If you’ve never seen any of his documentaries, this excellent short clip on penguins shows you what you’re missing.
In some stories/fables/myths the inciting incident or key point of drama is a character attempting to do something different to normal. In old stories, the character often fails and is punished, the moral being “know your place” (for example, the crow that tries to sing and in so doing drops a piece of cheese). In more modern stories, the character often succeeds and is rewarded. Is that generalisation true though? And what does it mean? I was going to collect examples of each and try to see a pattern, but never ended up doing that, so I’ll just leave it here as an unfinished thought.
The Cosmology of Serialised Television is an essay by David Auerbach which categorises long-running TV fiction by cosmological universe types: Steady State, Expansionary, Big Crunch. I didn’t find it particularly useful in terms of identifying solutions to the intrinsic storytelling problems of the medium, or even uncovering hidden gems (just the expected “Everything is terrible except for The Wire and Babylon 5“).
“So comics evolved by directing creative effortawayfrom any moments of quality andtowardlarge-scale creative bankruptcy”
See Maris Wicks’ 16-panel summary of Kitty Pride’s relationship with Colossus (penultimate comic in this post) for a great example of this.
Choose Your Own Adventure
One of my favourite kind of stories is any subversion of the “Choose your own adventure” format. Previously on Things I’ve linked to Luke Surl’s perfectly terse ‘Free Will‘ page. As an implied CYOA, this previously-linked Beaver and Steve comic also remains a classic.
The “Prog 2012” issue of 2000AD featured a story called “Choose your own Xmas”, and subverts the format while also shattering the 4th wall. It’s completely brilliant but isn’t online so you’ll just have to trust me and buy or borrow it.
Viviane Schwarz also subverted the format beautifully to convey what it’s like to suffer from anxiety.
Working within the extraordinarily tight constraints of having a fixed panel and art layout, Ryan North still found a way to make a CYOA version of Dinosaur Comics.
Save The Date (recommended to me by Tarim and Richard L, available for free on Windows, Mac or Linux) leverages the Ren’Py ‘visual novel’ engine in a rather clever way, and if you’re interested in games and storytelling, have 30-60 minutes to spare, and can tolerate an apparently high rate of failure, you should give it a go. It could perhaps have delivered its message more elegantly at the “end”.
Also via Richard L, Trapped In Time (pdf) is a nice twist on the traditional choose-your-own-adventure format that leverages the format in a few interesting ways I’ve not seen before, and actually works very well as a pdf!
And I should mention this just in – browser-based interactive time travel fiction, One Night in Skegness, by Matheson Marcault (Holly Gramazio and Sophie Sampson). More time travel, but in a more relaxed way.
Perhaps surprisingly, a link about technology that sat in my backlog for 5 years has become more interesting with age. John B recommended the article, in which Alexis Madrigal laments that (in 2012), internet startups are just retreading the same ground and no longer promise to revolutionise our lives. John also pointed out the comment below the article by Urgelt (comment link doesn’t seem to work, wait for comments to load, which they often don’t, then find ‘Urgelt’ in the page). Urgelt more precisely categorises startups into those that grow the economy vs those that just take market share from existing businesses, and the issue is that most startups are falling into the latter category.
Both make a very interesting read 5 years further on, leading one to ask: has anything changed since then? Two trends jump to mind.
The Gig-economy-style startups (Uber, Deliveroo, AirBnB) suggest major changes, but might not actually scale. Uber charges around half of the true cost, subsidising the rest in a bid to achieve market dominance when driverless cars arrive; Deliveroo similarly rides an unsustainable cost/charge balance for much the same reason; only AirBnB arguably doesn’t fit into this category as the market sets the price.
Crowdfunding seems to be a more impressive development. In 2012, Kickstarter was just turning the corner, and Patreon is now in the ascendancy. From artists/game-makers that I follow, these services genuinely seem to be creating viable revenue-streams that were not previously available, to the benefit of culture in general. For example, Captain Disillusion (referenced in Things March 2015 and Things 17) was never mass-market enough for ad-revenue to be viable, but now raises sufficient money from Patreon to work on his videos pretty much full time.
In more “modern life is terrible” news, here’s an article from Cracked in late 2013 that is really just an enjoyably angry and sarcastic rant about clickbait content-farming. I remember at the time thinking that, if nothing else, the clickbait headline style would have to change as humans will fall for anything once, or maybe a hundred times, but eventually will develop a sort of semiotic herd-immunity to these well-dressed empty promises. Four years on… have things changed? Well, if nothing else, Facebook is at least attempting to deprioritise these sorts of headlines; more specifically, headlines that withhold key information, and headlines that senselessly exaggerate the content.
Collecting all unused puzzles here is probably too intense, but I quite like that about it, so I’m doing it anyway.
1) 2D News
Sci/tech news is often quite one-dimensional, revealing a single scientific discovery or technological advancement at a time. As a thought-experiment, try combining two or more such stories from the past year into something amazing. For example, advances in drone technology + advances in ‘invisibility cloaks’ = army of invisible drones. Finding loads of other planets + anything = awesome.
2) Put Put boat
A toy Put Put boat has an amazingly simple heat engine, which you may recognise from the film Ponyo. A candle heats a small boiler; some water in the boiler vaporises but cannot escape, generating pressure that pushes the remaining water out a pipe. The momentum of the water keeps it pushing out, leaving the inside of the boiler with low air pressure. As a result, water then rushes back in, and the process repeats. Water thus repeatedly enters and exits a pipe pointed out the back of the boat, which then travels forward in a halting manner. The puzzle is this: why does the boat actually move forward, instead of just moving back and forth, given water is just going in and out?
3) Bernoulli vs the Train Window
In a similar vein to the Put Put boat, we have the Bernoulli train window problem. Bernoulli’s principle roughly states that faster moving air acts as if it has lower pressure. The classic demonstration is to hold a piece of A4 paper by one end in front of your chin so it droops downwards away from you; by blowing over the top, the pressure is reduced, and the piece of paper rises up due to the higher pressure underneath it.
A similar effect could be seen in an old-fashioned push-to-close narrow train window. If such a window was open and the train entered a tunnel, the window would slam shut. Or, would a shut one blow open? Depending on whether you take the perspective of the tunnel or the train, the faster moving air is on one side of the window or it is on the other. So which way does the window go?
4) Catbird seat
The Catbird seat is one of those puzzles I like because you can solve it with drawings and trigonometry, and then you can solve it better with simpler drawings and simpler trigonometry, and then you wonder if you can solve it in some kind of purely intuitive manner.
5) Shape of a Harp
When plucked, a longer taut string makes a deeper note. A harp has progressively longer strings to cover a range of notes. However, even though the interval between each note is the same, the length of the strings does not change linearly, or even following a simple curve, but rather an S-curve. Why is that? I thought this question might have a nice intuitive solution that could be reached by reason rather than by physics, but the answer is a bit more disatisfying, so this question remained in my backlog unasked. If you don’t want to figure it out (and my personal opinion is it’s not that interesting to do so), you can read about it here, although you’ll need the internet archive page for the harp citation.
This issue of Things was initially drafted in January 2016 and for various reasons is just coming out now. Let’s see how out of date it is…
Mobile Game of the Moment: Dreii
Mobile gaming is very exciting, because touch-interface location-aware always-online devices open up an amazing new landscape of interactive possibilities. Mobile gaming is also very depressing because these possibilities are rarely harnessed in an interesting way, and even when they are it rarely leads to commercial success.
This is exactly why I’m recommending you get Dreii right now (available on Android, iOS and also on Steam).
It’s an elegant physics-based puzzler in which you try to stack objects under various challenging constraints. The really brilliant bit is that you get to co-operate with anyone else that happens to be playing the same level (on any device) at the same time as you. There’s also a rather lovely map visualisation in which you can see what levels others are playing to better seek them out – or go back and help another player make it through to the one you’re stuck on!
The helpfulness of others is massively varying, which is part of the charm. I recommend it right now as the recent launch ensures a goodly surge of currently active players.
Update: well, that was written about a year ago, so I can’t really recommend it as much because few are now playing it. You can do local co-op with someone else playing at the same time though, so it’s still worth a go if you can arrange for that!
Or go and play the other brilliant game I got into in the intervening time: Snakebird (iOS, Android, Steam), an incredibly simple yet extremely difficult puzzle game.
Or go and play Crash of Cars (iOS, Android), which is real-time arcade-style car combat and is being played by a few million people at the time of writing.
Humans are More Complicated than Physics, part 94: Weight vs Diet
If you want to lose weight, don’t eat. This is not medicine, it’s thermodynamics. If you take in more than you use, you store it.
– Michael Bloomberg
It seems most people agree with Bloomberg’s appealing logic. It turns out, as it often does, that humans are more complicated than simple physics would suggest.
Finally, on Aeon, David Berreby dives a lot deeper into this mystery. Most striking for me was the finding that over the last two decades, animals as well as humans have gained weight – including lab mice, which have gained an average of 11% per decade despite having rigorously consistent diets. If you want to read about some fascinating theories on why this might be happening (light? BPA? A virus?), go check it out.
Quite a few months ago (er, a year ago now) Charlie Stross wrote about the Paranoid Style in politics. He cites two fascinating essays charting the relationship between paranoia / conspiracy-theories and US Republicans (one from 50 years ago and one more recent). Things like “9/11 was an inside job”, vaccine-related conspiracies, or any time you hear the phrase “Liberal elite”. Stross then adds his own interpretation of how the internet has reinforced this and given rise to (take a deep breath) an “ad-hoc movement of angry ideologues who have jabbed their fungal hyphae into the cerebral cortex of Reddit and n-chan to parasitically control the rageface collective.”
Well, a year has gone by and this has all become rather more clear. I think the only useful thing to add is that Popularism (in the sense of a political movement that believes most of the existing power structures are self-serving, corrupt, and out-of-touch) is clearly a close relative of the Paranoid Style.
Google Image Reverse Search growing in Intelligence?
If you want to search based on an image (to find where it came from, or a higher resolution version) you can use TinEye and get limited but exact results. Or you can use Google’s “Search by image” functionality to get a wide range of approximate results. I do this quite a lot while trying to track down the artists behind work I post on my daily drawing Tumblr.
I recently tried to use it to trace the origin of this piece:
I was unable to find the artist, but I was extremely impressed that Google suggested a page of ‘similar images’ which were indeed a lot of paintings of cats with a similar colour palette and often distorted proportions:
You can of course use these properties of the search algorithm to generate art.
Alexander defines Tolerance as “respect and kindness toward members of an Outgroup”, and defines an Outgroup as a group that has “proximity plus small differences”: a group of people who live in the same neighbourhood but who are ‘slightly’ different to you. I’m capitalising these terms because the definitions aren’t sufficiently general – for example, you could be racist but still Tolerant under this definition.
He broadens typical US political alignments into ‘tribes’: Conservatives are Red tribe, Liberals are Blue tribe (the US political colour binary reverses the UK’s). As a side note he also identifies a libertarian-leaning Grey Tribe, which I’ve found to be a useful concept – the Grey tribe is typified by:
“…libertarian political beliefs, Dawkins-style atheism, vague annoyance that the question of gay rights even comes up, eating paleo, drinking Soylent, calling in rides on Uber, reading lots of blogs, calling American football “sportsball”, getting conspicuously upset about the War on Drugs and the NSA, and listening to filk”
Alexander then asserts that the liberal Blue tribe’s outgroup is in fact the Red tribe. He gives the interesting example of being roundly criticised by Blues for expressing any kind of relief at Osama bin Laden’s death, only to later see those same people openly celebrating the death of Margaret Thatcher.
Finally, he suggests that political articles that reference ‘Americans’ or ‘White people’, written by Blue tribe people (who are notionally included in those groups), are tacitly actually about Red tribe members, and when a Blue says “I can tolerate anything except intolerance”, they are identifying intolerance with the Red tribe and are actually saying “I can tolerate anything except the Red tribe / my Outgroup” which no longer sounds that impressive.
In an excellent coda, Alexander then realises that he’s doing the same thing: criticising a group he notionally is a member of (the Blue tribe), but actually criticising his Outgroup, as he realises he’s probably Grey.
While I think this is an interesting argument, I do think it’s important to note that being intolerant of a group of people who hold opposing political views (which can’t be identified on sight, and can change) seems far less egregious than being intolerant of people who simply look a certain way. Views are, after all, one step away from Actions, but that’s a distinction I’ll get to in the next edition of Things.
As you may recall from Things 43, I’m a bit of a Star Wars fan.
So in terms of Things I found interesting in December, there was really only one. If you hate Star Wars I’ve got one other Thing for you below, a bit more music, and then it’s wall-to-wall Space Opera. I’ll save spoilery stuff until the very end and give fair warning.
Meine Schmusedecke / Patchwork Pals
At the Edinburgh Film Festival in 2010 (which I wrote about in this Things special), one of my favourite short animations was Lebensader by Angela Steffen. Last year at the DOK Leipzig film festival I was pleased to recognise her hand in a series of very short children’s animations about the adventures of some animals on a patchwork quilt.
There is an English dub, but I most enjoy the original German – I don’t know the language, but that’s what I like about it: the context and certain similar-sounding words make it a lot of fun to guess what’s going on. It’s about 3 minutes, and you should at least stick with it until the fox shows up:
Things Updates: Music and Dialogue
In Things November 2015 I quoted Dennett’s recommended method of dialogue, which involved carefully identifying areas of agreement, disagreement, and accurately re-stating your opponents position before attempting to debate it. Tarim wonders if this is inspired by “Buberian Dialogue” (pdf link):
The emergence technique proposed herein is sometimes called “Buberian dialogue.” The technique calls for two discussants, a moderator and an audience. The discussants each say their initial piece. It is the role of the audience to listen for what the two discussants have said or implied which might be in common. The audience is called upon to inform the discussants of these commonalities (which the moderator captures on a white board) and then for the discussion to turn to the revealed items. This occurs through three or more rounds. The aim is for a transformational experience. There is no effort to reach consensus or conclusion. Rather, the goal is for a transformation to take place in how the discussants view each other in the context of the debate. If a more human based respect emerges, the technique is successful.
Just imagine a political debate taking place through this form!
Frank Zappa’s takes on Bolero and Stairway to Heaven:
And finally Far-Cue, a “3 piece punk band who do notable versions of: Mike Batt’s Remember You’re a Womble, Motorhead’s Ace of Spaces and Bach’s Toccata and Fugue.” Youtube videos exist, but “they just don’t capture the essence of Far-Cue” – which I can well imagine!
So what is this ‘Star Wars’ thing anyway
I grew up with Star Wars, and it’s now so much part of the cultural furniture that it’s quite hard to see what it really is.
Strip away what you already know, and think about how odd it is to launch a franchise with ‘Episode IV’. So odd that Fox didn’t allow it, and it was just ‘Star Wars’ until George was allowed to change it for the 1981 re-release (and of course he’s continued to change the films whenever he has the chance). This is just the most telling sign of what Lucas was trying to do: recreate the adventure-serial movies he enjoyed in his youth, in which you would usually be encountering a random episode and hearing talk about back-story you knew nothing about – “You fought in the Clone Wars?!” The other biggest clue is that he had first tried to get the rights to make a Flash Gordon movie, and being unable to get them, decided to just make his own thrilling space adventure instead. (As if annoyed how many people don’t realise this, Lucas mentions it repeatedly in all of the commentaries on the most recent DVD/Blu-ray release!)
The best modern analogue for what Lucas was doing is probably Robert Rodriguez’ Planet Terror, in which Rodriguez tries to make an exploitation B-movie as good as he always wished they were.
This is all very reasonable; the really weird part is how ridiculously successful it was. Here’s the US box office of the top 10 grossing movies in the 5 years running to 1977:
In 1975 Jaws was an outlier, a freakish break-out hit… and then Star Wars almost doubledJaws’ US domestic takings. Worldwide, across all re-releases and adjusted for inflation, ‘Star Wars’ (aka Episode IV or A New Hope) is second only to Gone With the Wind, which came out in 1939, when 45% of the US population went to the cinema weekly, as opposed to 1977 when that figure was down to 10% (pdf source). Incredible.
I personally think three main factors helped Star Wars achieve this excessive success.
It seems for various reasons that people have their greatest ability to create influential cultural works between the ages of 30-40. That age group also commands a large amount of the money going to entertainment: those without children are at a peak ratio of earnings to needs, those with children will spend to entertain the whole family. This means entertainment that resonates with the 30-40 year-old generation can prove disproportionately popular, and nostalgia for their youth is a good approach. (When you enter this age group yourself, the first sign is that shops start playing the pop music of your youth).
Back to the Future went back from 1985 to 1955; Hairspray, The Wonder Years, Grease, Happy Days, and perhaps most nakedly That ‘70s Show all did a similar nostalgic leap. So in 1977 an audience existed that, like George Lucas, was nostalgic for the adventure serials.
This is also why we see favourite movies of the 80’s coming back 25-35 years later with sequels or remakes: Alien, Terminator, Robocop, Total Recall, Ghostbusters, Rocky, and Indiana Jones to name a few of the biggest.
Hairspray actually benefitted from the effect twice (set in 1962, made in 1988, remade in 2002). Star Wars has arguably benefitted three times: the initial adventure-serial throwback, and then the prequel trilogy and (just about) sequel trilogy each resonating with the generation that grew up with the previous Star Wars movies.
The Hero’s Journey
Aka the Monomyth, this is a story structure George Lucas studied and then consciously followed with Star Wars, and is one of the most popular story types that exist. Whatever else is going on, with this at the core you have a very strong narrative hook.
Episode IV’s script is weak: “This bucket of bolts is never going to get us past that blockade”, “Boy, it’s a good thing you have these compartments!” The pacing is also weird – at age 7 a friend and I were playing with our Star Wars toys when we realised we could watch the movie on VHS; after about 20 minutes we got bored and went back to the toys.
But apart from that (!), much of the execution is really incredible for the time. For one thing, Lucas founded a special effects company and a sound company that were each so successful they remain leaders in their fields even today. Relatedly, I suspect Ben Burtt’s sound design in particular elevated the film dramatically above other genre fare of the day (lightsabers, Vader’s breathing, blaster bolts, alien languages, background hum on ships… hundreds of convincing, world-building sounds in a single film).
How do you follow the most successful film in a generation?
Lucas found directing Star Wars incredibly stressful. With so much success, the world’s expectations would make directing a sequel even worse. I also suspect he knew a sequel would be held to a higher standard, and this adventure-serial schtick was going to wear thin. The one thing he had going for him was that the arc of the Hero’s Journey had plenty of life left. So he brought in a different director, got some pretty good script-writers, and took a back seat.
After seeing Star Wars films frequently throughout my life, it was only after a 5-year hiatus that I could re-watch them somewhat afresh as an adult, and realised that The Empire Strikes Back really is a step up in quality. Return of the Jedi then concluded the Hero’s Journey beautifully and assured Star Wars a long-lasting place in the minds of a generation.
In light of all the above, the seemingly weird prequels make a lot more sense. With financial security behind him, Lucas was able to get back to doing what he really wanted: adventure serial movies, complete with cheesy lines, melodrama and slightly wooden acting. I think the prequel trilogy is just the kind of movie Lucas wanted to make all along, and he actually got better at achieving that rather than worse.
I suspect the greatest problem for the prequels was that they’re not doing the ever-popular Hero’s Journey, but rather some sort of rise-and-fall tragedy, which the nuance-free adventure serial form is terrible at supporting.
At the end, George Lucas came over from the more star-studded premiere that had taken place in the nearby Odeon, and addressed the crowd. He was quickly drowned out by a chant that spontaneously arose from the fans: “We want nine! We want nine!”
Lucas calmed the crowd, and answered the request with these words I can still hear now:
“Star Wars is the story of Anakin Skywalker. It begins when he’s 9… it ends when he’s dead… there is no more story.”
[Update – I rediscovered the recording I made of that intro! Perhaps unsurprisingly, the BBC reporter’s wording was closer than my memory – T.M. 16th April 2017]
As we now know, Disney thought there was at least $4bn more story, and they’re set on proving it, with new Star Wars episodes and spin-off films planned for every year from 2015 – 2020.
With all that history and no more Hero’s Journey story arc, how could Disney possibly satisfy the expectations of three generations of fans?
Well, that looks quite plausible. I particularly enjoyed the way a seemingly new and haunting piano progression evolves into a familiar theme – Han and Leia’s love theme in fact, which is a particularly apt choice following the end of Return of the Jedi.
At the time of writing, The Force Awakens has set the record for (unadjusted) US Domestic box office, and more impressively is at number 15 in the worldwide inflation-adjusted box office, putting it ahead of The Phantom Menace, Return of the Jedi, and just about on track to overtake The Empire Strikes Back, which would make it the most successful Star Wars film since 1977.
So that seems to be working.
I would say The Force Awakens has three major elements which could be ‘spoiled’, so is well worth trying to see with as little knowledge as possible. If you haven’t seen it yet, you should really do so before reading the rest.
Here’s a video to make it less tempting to read on:
The Force Awakens: True Successor or big-budget Fan Fiction? (SPOILERS!)
Over the first half an hour of the film I alternated between feeling that scenes, characters and designs were either not Star Wars enough, or just too much like old Star Wars. I finally realised I was holding the movie to an impossible standard, and substantially enjoyed the rest of it.
But by the end, it was undeniable: The Force Awakens looks a lot like a remake of 1977’s A New Hope. To try to make that assessment more fairly, I picked the most important 10 story elements from each and put them side-by-side:
Episode IV: A New Hope
Episode VII: The Force Awakens
Opening arc of The Hero’s Journey
Opening arc of The Hero’s Journey
Scrappy underdogs vs. Fascist Military
Scrappy underdogs vs. Fascist Military
Destroy planet-scale superweapon
Destroy planet-scale superweapon
Death of the mentor
Death of the mentor
Protagonist triumphs through skill and faith
Protagonist triumphs through skill and faith
Males free female from captivity
Males free female from captivity (subverted)
MacGuffin in a droid: superweapon plans
MacGuffin in a droid: location of old hero
Escape from a death trap
Male frees male from captivity
Triumphant return of a protagonist
Bad guy turns good
Conclude with award ceremony
Conclude with ambiguous meeting with old hero
So that’s 50% alike, 20% related, 30% new.
I can’t help wondering if this was actually the master plan: take the structure of the most successful of the series, add a scriptwriter of the most well-regarded, have the original cast pass the baton to the new, and laugh all the way to the bank. It seems to have worked.
In terms of style, I was very pleased to find it kept my favourite things from all of the Star Wars films: the adventure-serial (more mysterious back-story), family melodrama, and a script much more like Empire than any of the others (which makes sense, given Lawrence Kasdan’s involvement).
Let’s Get Nerdy (MORE SPOILERS)
Finally, as a Star Wars fan I can’t leave off without addressing some of the questions people tend to ask immediately after seeing the film.
How did Kylo Ren get beaten by amateurs?
The movie goes to extraordinary lengths to show Chewbacca’s bowcaster as some kind of devastating superweapon. Kylo Ren then gets shot with it, and the movie emphases his heavy bleeding and difficulty with the wound. Meanwhile it’s fair to assume Finn has some training in melee combat, and so is able to slightly injure Kylo’s sword-arm before being beaten. This means when Rey enters the fight, she’s fresh, and has been demonstrated capable in melee combat, while Kylo has two serious injuries!
How can Rey be so good with the Force so quickly?
I wondered this while watching the film, but it’s worth benchmarking. Anakin could drive pod-racers at inhuman speed at age 9, and demonstrated some sort of telepathy / far-seeing (in Yoda’s simple test) with no training. Luke deflects three blaster bolts while blindfold on his second try, uses the force to make a missile shot that was ‘impossible, even for a computer’, and later extracts a lightsaber from ice, again with no formal training.
By contrast, Rey does a Jedi mind trick on her third go, and beats Kylo Ren in a lightsaber summoning contest; in the latter case we again have his injuries to consider, and she was also pulling in the same direction as him.
Why did R2 take so long to wake up?
This requires some mumbo jumbo about R2 taking a while to process the information of BB-8 returning with the map piece and to come out of hibernation. The real reason is if he woke up immediately, it would create a difficult story-fork between fighting Starkiller Base and seeking out Luke.
Where are these planets relative to one another in the galaxy?
It’s unclear how Starkiller Base can really be “aimed” at another solar system, but apparently it can. We’re told it can somehow shoot through hyperspace, hence the ability to hit something light-years away. Dramatically less justifiable is that in a completely separate solar system, it’s possible to look in the sky and see the beam traverse and hit several planets in real time.
The only ‘explanation’ is that Star Wars is fantasy, not science fiction: planets are simply locations that are ‘far apart’, hence their uniform environment and the fact that everything that takes place on a planet seems to happen in one very small part of it. The worst offender in the original trilogy was arguably Empire, in which the Millennium Falcon apparently travels between two solar systems without a hyperdrive in a matter of weeks.
Who is Rey?
Child of Solo and Leia? Seems very weird they did not mention her when discussing their past troubles in The Force Awakens.
Grandchild of Kenobi? Seems very weird given that in Empire it is Kenobi’s ghost who says “That boy is our last hope” and Yoda who says “No… there is another”. Unless Yoda followed up with “Oh, and didn’t you also have a kid at some point, how are they getting on?”
Child of Skywalker? It seems insane he would abandon her with no training, and the whole bit with Kylo turning to the dark side and disrupting things comes much later.
In terms of trying to second-guess the series, I think it’s worth remembering that A New Hope set up Empire’s surprise-parentage twist by explicitly lying about it! As reliable old Ben told Luke, “A young Jedi named Darth Vader […] betrayed and murdered your father.”