Rebels: "Twilight of the Apprentice -- Part Two" (Ep. 2.22)

-- So, the rumors are true; Darth Maul lives.

Star Wars has a long history of apprentices confronting their masters, going all the way back to A New Hope. I suppose this confrontation was inevitable.

And heart-wrenching.

And about time, I suppose.

This is one of those episodes where long-running story threads all come together, and things get serious. Really serious. Consequences happen.

And, then, there's Maul, the wildcard of this two-episode arc, who seems to have set his sights on a new apprentice.

Actually, there's not much to talk about here without being completely spoilery, and this episode is too good for that. It's almost necessary viewing, which could do without watching the whole series if you were willing to be a little vague on some things.

Let's just say this:

Confrontation with the inquisitors.

Maul's motivations revealed.

Confrontation between Ahsoka and her old Master.

Things... change.

I'm really looking forward to season three!

"You're such cowards that you would run from this chance to defeat your enemies."

"I need a lot more training."

Clone Wars -- "Nomad Droids" (Ep. 4.6)

-- Who's the more foolish, the fool or the fool who follows him?

[Remember, you can sign up to join the Clone Wars Project at any time by clicking this link.]

I never watched the Droids cartoon from the mid-80s, but I feel like I am now. Which may be the point with this and the previous episode. Maybe these are meant as an homage to that series. At least it's just the two episodes.

Which is not to say that this was a bad episode. For an episode centered on the droids, it was quite good, actually. It's just that with the weak start of season four, it's at the trailing end of a series of episodes that don't live up to the quality of the previous three seasons. If this episode had been used as a one-shot between more serious arcs, it could have been a welcome addition of humor.

Still, this episode did manage to make me LOL a number of times. When I say LOL, I mean that literally. Not only does this episode feel like an homage to Droids but also to The Wizard of Oz. And, maybe, Willow. The tiny fairy-like aliens on the first planet R2 and 3PO end up on reminded me a lot of the two brownies from that movie.

Speaking of which, their introduction is handled pretty well. It's very A New Hope with the jawa introduction. Oh, with some Gulliver's Travels thrown in. You know, this episode seems to be an homage to a lot of things as I think about it, and, as I think abut it, I'm appreciating what they did here. I really do wish this episode had had better placement within the series as a whole.

Anyway... What I was trying to say is that the moment when 3PO accidentally knocks R2 over onto the leader (the Wicked Witch character) of the little fairy people and squashes him like a bug made me laugh. Even though I've seen  the episode before, I had evidently forgotten that happened, because I was not expecting that happen. Then the fairies start singing the wicked witch is dead song except with slightly altered words. It was a good moment.

And that's just in the first 10 minutes or so of the episode.

Okay, I think this one is worth watching on its merit as a singular episode. I actually kind of want to go back and watch it again right now just to see if I missed any of the allusions. I'm not going to because I have other things to do, but I want to.


"Please note, whoever you are, my counterpart here is programmed in 47 schools of self defense."

Rebels: "Fire Across the Galaxy" (Ep. 1.14)

"Yep, you definitely missed me."


The rescue attempt continues, and I'm just going to say, right now, that this is going to be full of spoilers, because I'm not going to hold anything back.

This is the episode where everything takes off and the title of the show really means something. Which means that we find out that there are, indeed, other rebel groups working in a coordinated manner with each other spread across the galaxy and, actually, our rebel group is one of those groups. We get the confirmation that Bail Organa is a part of it, which, come on, who didn't know that? So not really a spoiler.

But we also get the reveal on who Fulcrum is, something I had figured out or, at least, hoped I had figured out, so it was great to find that I was correct. A very welcome confirmation, and I was going to reveal that, but I've changed my mind, You should just watch the series. It was quite gratifying to see the reaction of my kids to who Fulcrum is, which is why, I guess, I'm not telling you. You should watch.

The big deal in the episode is the final duel between Kanan and the Inquisitor. And, when I say "final," I do mean final. Ezra is also involved in the duel, but it comes down to, as it should, Kanan and the Inquisitor. It's a fight, if you watch the series, you'll find you'll be longing for by the time it gets to it. Because, really, someone needs to shut the mouth of the Inquisitor.

We also get a reflected moment from A New Hope as Tarkin is given word that he needs to evacuate his star destroyer because, as it turns out, lightsabers are not good for hyperdrive engine cores. Tarkin doesn't argue in this circumstance and lives to fight another day.

However, he's not happy and brings in an old friend to help deal with the fallout of the loss of the Jedi prisoner, the death of the Inquisitor, and the first coordinated effort of multiple rebel cells. Oh, come on, you don't really need me to tell you who the old friend is, do you? I'll give you a hint: I recently reviewed their first meeting during season three of Clone Wars. You can find that review here.

This was a great final episode for season one and had everything you could reasonably want as season finale. No cliffhanger, which is also good, unless you count the revelation of whom Fulcrum is and the arrival of Tarkin's pal as cliffhangers. You could make an argument for that, I suppose, though there's nothing in the specific plot that you could call a cliffhanger ending.

I'm bought in, now, and am looking forward to getting started on season two. Whenever I get around to that.

That said, I'm not going to do a season one recap. To put it simply, it got off to rather a rough start but got better as it went on, working up to several really great episodes here at the end of the season. Still, I'm not ready to say that Rebels is as good as Clone Wars. Rebels still hasn't delved into the same kinds of philosophical struggles that Clone Wars was willing to take on, which was one of the things that made Clone Wars such a strong series. Rebels is well worth watching, though.

Rebels: "Rebel Resolve" (Ep. 1.13)

"I want a full sweep. Those rebels must be found."


As you can tell from the picture, Kanan has been captured. That's a backwards spoiler to the last episode. It's not my fault if you haven't watched it yet. Tarkin wants to know if Kanan really is a Jedi, because he hasn't bought into the hype and, just as in A New Hope, he's skeptical. He also wants to know how the rebel cell on Lothal is connected to other groups. Basically, he wants to know it all.

Of course, our merry band of rebels is hot to rescue Kanan and are trying to figure out where he's being held. The only problem is that, due to them, the Imperial communications network is down, so they're having difficulties accessing the information. Which delays their pursuit just long enough for them to get word from the mysterious Fulcrum to abandon Kanan for the greater good.

Wait, what?

We don't really know anything about Fulcrum other than that it's some person Hera is sporadically in contact with and from whom they occasionally receive orders. That Fulcrum is a powerful enough character to tell Hera they need to sacrifice Kanan, the last known Jedi, for the greater good is a sudden boggle to the imagination.

And Ezra's just not going for it.

So begins our first prison break episode from Rebels. At least, that's what I'm assuming. We don't really get to that in this episode, but I think that's the direction we're headed.

It's a good episode. Very good, actually. They worked a lot of information into the 22 minute running time. It seems this series is finally geared to really take off.


"The Jedi is no good to me dead."

Star Wars: A Discussion (Episode V)

Okay, so, now we get to it. How do I really feel about The Force Awakens?
The answer is probably way more complicated than it ought to be, but it is what it is.
So let's start with the good...
Oh! There will be spoilers. Probably a lot of them.
Just sayin'.
[As it turns out, all but one spoiler has been pushed to the next post.]

It's a good movie. A very good movie. I say that not as an evaluation of actually quality but in its ability to make me want to watch it again. [I've seen it three times and want to see it again.] And, hey, it's Star Wars. It's full of action, non-stop action, in fact. The special effects are amazing, as you would expect.

Probably, the best thing about the movie is Adam Driver. It was a bit of an eyebrow-raiser for me when he got cast, though less of one when I found out it was as the villain. He has an interesting intensity about him, and it worked really well as Kylo Ren. He's able to do a lot with his voice and gave a much more nuanced performance than anyone in a Star Wars movie other than, perhaps, Ewan McGregor. Plus, his height made his stalking-walk very effective.

Finn and Rey are great additions.

I think it must be difficult to convey emotion while wearing stormtrooper armor, but John Boyega manages it. He is equal parts enthusiasm and naivete... well, when he's not being freaked out by what's going on around him, that is. I liked his performance, and I like the character.

Rey is great. She is now both my daughter's and my wife's favorite character in Star Wars (okay, well, my daughter may still like both R2 and BB-8 better) AND she is my oldest son's favorite character. Yes, even more than Luke Skywalker (though my son has been a devoted follower of the Empire for years, now, anyway). Daisy Ridley is good in the role.

The Force Awakens is actually as close you can probably get to the "perfect" fan movie for Star Wars. Except not for actual fans in the actual meaning of the word. Most people who call themselves a "fan" of something don't actually mean that; what they mean is that they like the thing. Actual fans invest themselves into the thing they're a fan of, hence the origin of the word from "fanatic." So, sense everyone gets to be a fan these days just for liking a thing, this movie is perfect. It's perfect for all of those people who saw the movies in the theater almost 40 years ago and thought it was great but, then, didn't think about Star Wars anymore until the prequels came out, which they hated, because what they wanted was another experience like A New Hope. The Phantom Menace was not that experience, but The Force Awakens is.

The Force Awakens achieves this by being almost the exact same movie. Except faster and more intense. This is a point of conflict for me. On the one hand, it is a fun movie but, then, I have to ask, "What's the point?" Of course, I know the point: Disney wanted to make a buttload of money, and they have succeeded admirably. But, seriously, from a story standpoint, why tell the same story again? From that perspective, I sort of feel gypped, because I already watched the one where they have to take down the shields so that they can destroy the giant planet-killing machine.

Which brings me, obliquely, to the major issue I have with Force: It feels like a movie about Star Wars but not quite like it is actually Star Wars. Honestly, effectively, that's what it is. The Force Awakens is a piece of officially sanctioned fan fiction. The fact that movie moves so quickly contributes to this feeling. So, while the non-stop action is attractive to the larger audience, the non-stop action also rushes past any feeling of being Star Wars. It does not "feel the Force." Ever. It's the lack of originality that really does it. The movie feels most like the kind of story a kid would make up to use his action figures with and destroy an EVEN BIGGER AND MORE POWERFUL Death Star. (Okay, there was your spoiler.)

Don't get me wrong; this doesn't make it a bad movie. It's an Abrams movie, and Abrams knows how to do big action and all of that. And fast. Very fast. So it's good. And fun. A good and fun bit of fan fiction that Disney has made into actual Star Wars canon. Maybe that's not a bad thing. I don't really know. All I know is that I wish Disney had actually held true to Lucas' story like they said they were going to do when all of this began. But, well, you can't stop them from following the scent of money, I suppose. Clearly, they have taken the "quicker, easier, more seductive" path.

Next post we'll talk about BB-8 and why he exists.

Star Wars: A Discussion (Episode III)

No, we're not actually up to The Force Awakens, yet. Don't worry; we'll get there.
Eventually.

When my oldest son was not quite two, my wife gave me the boxed (VHS) set of Special Edition for Christmas. My son was not a TV watcher; I mean, we didn't even have TV (still don't). He wasn't (yet) a video watcher either. He wasn't even two and we didn't really have any videos for him to sit and watch. When I put A New Hope in to watch it, it didn't occur to either of us (my wife and me) that he would pay any attention to it. But he did.

He sat down and was mesmerized by it and, when it was over and he got up, he was someone different. He was Luke Skywalker. I'm being serious. He got up and immediately began running around the house as if he was Luke. It was, quite frankly, amazing. By the time we'd watched the full trilogy, the transformation was complete.

Amusing story time:
Those of you with kids will know that two-year-olds aren't the best talkers in the world. Well, ours started saying "fuck" to us. That, also, was amazing and a surprise, because we couldn't figure out where he'd heard it, since we didn't use that kind of language around him. But he'd run into the kitchen and yell "fuck!" and run out again and, really, just leave us bemused. So, one day, he and I were at Target together going through the toys (because I was still collecting Star Wars stuff at the time and, actually, the kid was starting his own collection, too). As we went down one of the aisles, he began yelling "fuck! fuck!" over and over again. People were looking and I was, frankly, embarrassed. I was trying to shush him and sped up to get off the aisle then, as we rounded the corner at the end, he started pointing, too, and stating "fuck!" even more emphatically. And, so, I looked to see what he was pointing at: an endcap display of Millennium Falcons. The "fuck!" That was all he could say of it. It was one of those "oh" moments and it all made sense.

Still incredibly embarrassing, though, because you can't go to everyone and explain to them that your two-year-old is not really swearing, as if they'd believe you anyway, right?


My oldest son was old enough to see The Phantom Menace in the theater when it came out, though he doesn't remember it -- he was only three, after all -- but my second son was released right in the middle of the trilogy. Oh, um, I mean, he was born during the midst of the prequels. He was a great baby, and we could take him to any movie with us, and he would sleep right through it. We couldn't take our oldest son to many movies, because all he wanted to do was get up and walk around. Star Wars was an exception. But, for the first year of his life, we took the second child to all of our movies with us, including Pearl Harbor, which we were sure was going to wake him up it was so loud, but he slept right through it. That lasted right up until May of 2002.

Don't get me wrong, Attack of the Clones was fine. He didn't sleep through it, but he also didn't fuss. What we didn't know was that our one year and change baby was watching the movie. How do we know? Well, sometime after the release of Clones, my wife and I had gone to see some movie that wasn't Star Wars. I don't remember what movie it was, but it was a date movie, and we took the younger boy with us because he had always been fine in movies. Not this time, though.

No, for that movie (whatever it was), he started crying and fussing almost as soon as the movie started. It was unprecedented.

So I did what any good person should do and I took my son out of the theater leaving my wife to watch our date movie alone. I wandered around the theater for a while holding him. When he finally calmed down, we tried going back to the theater but, almost as soon as I sat down next to my wife, he started back up again. After a couple of times of that, I gave up on going back in and had decided to just stand around in the hallway until the movie was over... except that Attack of the Clones was showing in the theater across the hall, so I decided to go just inside the door to see if I could watch a bit of that.

And this is where it gets interesting because my son, my son who was just over a year old, sat up to watch the movie. He almost instantly became totally engrossed in it. But it's hard to tell things with babies since they can't actually communicate with you, so I decided to experiment with him. Yes, I did an experiment with kid. I walked back to the movie I was supposed to be seeing where he immediately got upset again. Then, I went back to Clones where he started watching again. I went into every other movie in that hall, about half a dozen, and he got upset in every one of them. Attack of the Clones was the only movie he would watch. So, well, we sat down and finished the movie, and he sat quietly and watched the whole thing. By the time it was over, I only had to wait for my wife for about 10 minutes.

For the record, that was the last time we took him to the movies with us. Well, until Revenge of the Sith came out, at any rate.

I don't have any stories like that about my daughter, but she is as fully immersed as the boys at this point. She loves R2-D2, Wicket, and BB-8.
Incidentally, they are watching Return of the Jedi as I finish this up. My wife and I have been out, and they were watching it when we got home. That's the way our house is.

Next post, we'll start into The Force Awakens.

Clone Wars -- "Trespass" (Ep. 1.15)

-- Arrogance diminishes wisdom.

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The episode opens with Obi-Wan, Anakin, and company investigating the loss of communication with a clone base on a Hoth-like planet. Obi-Wan's comment that they're in the planet's tropical zone was amusing. They find the helmets of the clone troopers hanging from spears that have been driven into the ground. As they move on and find the same thing with droid heads at a Separatist base, my son said, "Well, this is weird and creepy," which is almost exactly what I'd been thinking, that they'd done a really good job of making the opening creepy. It's something you don't often see in Star Wars, and it was well done.

Of course, it didn't last very long before they got to the actual story, but it was a very well done opening.

The actual story has to do with the leader of the people from a moon in the same system trying to claim the planet as belonging to his people. The problem is that there is an indigenous population on the ice world, and the chairman wants them wiped out. He's trying to use the Jedi and the clones in a war against the Tal so that his people will have claim to the planet.

The other problem is that, supposedly, no one knew about the indigenous population until they came to find out why they'd lost communication with the clone base.

So I think there are some unspoken things going on in this episode, because it's the only way the episode actually makes sense. The first of these is that Chairman Chi Cho knew about the Tal already. Chi Cho is the one who insisted upon a base being put on an otherwise unoccupied planet and, apparently, one that is fairly worthless. Which makes you wonder why Chi Cho so desperately wants to lay claim to the world, but they don't ever discuss that. All of this reduces Chi Cho to a very two-dimensional character who wants all the things and wants all the things in his way to all the things to be killed.

However, the political maneuvering in the episode is interesting, especially following the assumption that Chi Cho knew about the Tal and was putting the Jedi and the clones in a position to go to war with the Tal for him. The episode explores the bounds of authority the Jedi have, and we get to see, primarily, Obi-Wan doing some political maneuvering of his own to bring about the resolution he wanted.

Politics is a big thing in the Star Wars universe. You don't really see a lot of it in the original trilogy, but you know it's there, shown in the dissolution of the senate by the Emperor. Politics is at the center of the prequels, though (and is probably a reason people didn't resonate with them as much), and it's interesting to get to see some of that, especially Jedi politics, in the Clone Wars series. Jedi politics are not much dealt with in any of the movies. Obi-Wan's skill in manipulating the situation is fairly impressive.

Another thing of note:
Somewhere between this episode, in which the Tal are not space-faring, and A New Hope, the Tal take to the stars, because there is a Tal in the cantina on Tatooine. Yes, a Tal, from a snow world, hanging out in a bar on a desert planet. I'd really love to know the story behind that!

Clone Wars -- "Cloak of Darkness" (Ep. 1.9)

-- Ignore your instincts at your peril.

[Remember, you can sign up to join the Clone Wars Project at any time by clicking this link.]

I'm going to lead on this one with the fact that James Marsters does a voice for this episode. That should have caught the eye of some of you pop culture/Joss Whedon people out there. If you don't know what I'm talking about, just move along. Move along.

Betrayal is one of the themes Star Wars returns to over and over again. Even from A New Hope, we have, "He betrayed and murdered your father," not to mention the betrayal by the clones against the Jedi in Revenge of the Sith and Vader's betrayal against the Emperor at the end of Return of the Jedi. We encounter betrayal frequently, too, during the Clone Wars, this not even being the first episode dealing with betrayal just nine episodes into the first season.

I don't know what to say about all the betrayal. It's just part of the fabric. Against the background of the Clone Wars, you can't trust anyone. Well, okay, you can trust R2-D2 and you can trust Obi-Wan and you can trust Yoda. You don't really want to go putting money down on anyone else, though. I think that's why we encounter it so frequently, though, so that we understand that you can't trust anyone. And it doesn't matter how innocuous the "person" seems.

Another thing the Clone Wars series does well is to let us get to know Jedi we've only previously had glimpses of. This episode is a closer look at Luminara Unduli. Again (as with Plo Koon in the Malevolence episodes), we get our look at the Jedi through the eyes of Ahsoka. Luminara is less good at listening to Ahsoka than I think Ahsoka is used to and gives Ahsoka some orders that Ahsoka doesn't really agree with. There's not an inconsiderable amount of angst while Ahsoka tries to figure out whether to follow them.

And there's a great good cop/bad cop bit when Luminara and Ahsoka are interrogating a prisoner. Luminara, being the good cop, is trying to logic the prisoner into talking when Ahsoka goes all, "I'm gonna gut you like a fish" on the guy. Luminara, though, thinks Ahsoka is being serious and goes all teach-y on Ahsoka about proper Jedi ways. It's an interesting exchange.

All of that and Ventress makes an appearance. Things always get interesting when she's around.

It's a good, solid episode that fits well into the story flow and can probably even be watched without having seen other episodes. Probably.

Clone Wars -- "Destroy Malevolence" (Ep. 1.4)

 -- A plan is only as good as those who see it through.

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This episode hearkens back to A New Hope and the Death Star rescue. See, the Malevolence is a huge ship. Massive. It's three times bigger than the standard Imperial Star Destroyer (though still dwarfed by the Super Star Destroyer). Grievous, through the machinations of Darth Sidious, is able to take Padme (almost) hostage while trying to escape from Republic forces. Anakin, of course, goes to rescue her. There are also overtones of the droid factory from Attack of the Clones.

This episode also has what I think is the first physical confrontation between Obi-Wan and Grievous. Without looking up and cataloging all of their meetings, this seems to me to be an ongoing theme in Clone Wars which, of course, culminates in their final duel in Revenge of the Sith.

Probably, the most interesting part of the episode has to do with transportation inside these huge ships. Imperial Star Destroyers are pretty close to a mile long. Haven't you ever wondered how people get around inside of them without it taking forever? Especially on something like a Super Star Destroyer, which is close to four miles long. Imagine: You have a meeting with Vader in half an hour, but you're on the wrong end of the ship. How do you get there?

Of course, the Space Balls answer was interior teleporters. But Star Wars doesn't actually use teleportation, so maybe being force choked for being late is your only option.

Or is it? The answer "Destroy Malevolence" provides is a kind of high speed tram system. Considering that the Clone Wars series is canon, I have to assume that this is the official answer as to how people (or droids) get around on these huge ships. We don't get to see much beyond the bridge area of the Star Destroyers in the movies, but I would love to see how these would look. Not that I expect that we'll get any better look at the interiors of Star Destroyers in episode VII.

At any rate, it's a fun episode. It's fun to see Anakin on the rescuing side of the whole rescue-the-princess thing.

Let Me Incite You

There's a lot of talk in the "writing world" [I'm not exactly sure what the "writing world" is, which is why it's the "writing world" and not the writing world. I think it must be like, to some extent, the "wizarding world" (which probably doesn't need the quotation marks (or maybe it does)) but, then, I wonder if there is a special school for people in the "writing world," a Penwarts or something, and, if there is, why wasn't I invited?] about starting in "the middle of the action" (this feels like it's going to be a quotation mark-heavy post) and how important it is to hooking your reader. However, I'm not quite sure that people understand what it means to "start in the middle of the action."

See, the problem there is the word "action." We all have this Idea of what Action is, and it involves car chases and shootouts and smashing and crashing and all of that just like at the beginning of the movie The Goonies, which is rather brilliant, actually, in putting all of that in there and making it mean something without actually skipping... oh, wait, I think I'm jumping ahead. At any rate, what people think when they read that about "starting in the middle of the action" is "starting in the middle of the Action," and that's not what that means.

For those of you that don't know, I've been teaching creative writing for a few years at my kids' (well, now, "kid's," since there's only one left at the school) middle school. One of the things that I have to talk about every year -- and not just every year but multiple times every year -- is where the kids should begin their stories, how it starts. About half of the short stories I get start with the protagonist (almost always a middle schooler) waking up, getting dressed, brushing her teeth (the teeth brushing is always included, which is good, you know, because I'd say that probably means the authors are brushing their teeth, too, but I do, also, find it curious), eating breakfast, and going off to school. I equate this with standing in line, a long one, for a roller coaster at an amusement park. Lines are boring and pretty much the same no matter where you're standing in it, at an amusement park or at the bank or in a grocery store. And most everyone does the same kinds of things when they get up in the morning, and we don't want to read about it.

The thing is, the line is not part of the roller coaster. It is not "the action."

The action starts somewhere around the curve going up. How much before is, yes, subjective and probably depends upon the kind of story it is, but I'd say it's the part of the line where you're actually on the ride itself or, maybe, when you're in the little herding areas being sent along to the meat processing... oh, wait! Roller coaster... right! ...being sent along to the specific part of the ride where you're going to sit or to the specific car (or boat or whatever) that you're going to be in.

That part of the story is called the "exposition," and you can see it circled in the above drawing.  "The action" of the story starts with the exposition, not somewhere up the line of rising action. If you have to skip the exposition because you think it's too boring to draw in readers, then you need to strengthen your exposition, not find some sequence of Action to start in the middle of and, then, flashback to the exposition so that it makes sense.

Those of you who pay a little more attention may have noticed a red line through the action in the middle of the exposition: That line is called the "inciting incident."

The inciting incident is the moment in the story where the protagonist's life is sent off in a different direction. We also call this the "point of change." The exposition should be centered around this event, thus you are starting in the middle of the action, not somewhere back in the boring, mundane stuff that makes up everyone's life. Like getting up every morning and getting ready for school or work.

I most frequently use Star Wars (specifically A New Hope) to illustrate this (because it is the most common denominator among the students. Always. Even more than Harry Potter). The action starts with Luke buying the droids, his inciting incident, the point where his life changed (and, yes, I know that's not where the movie starts. That stuff up in space with Leia and the droids is prologue). That moment, the purchase of the droids, is not Action. It is, however, in the middle of the action.

Another curious thing about my middle schoolers: The most common inciting incident is the protagonist receiving a mysterious note or book.

The point is that "starting in the middle of the action" does not mean, necessarily, starting with something exciting, starting with Action. It just means finding that point in which your protagonist's life changes, where it veers off course. That can be a very boring thing, in all actuality. Like buying a pair of droids or finding a mysterious note or a birthday party. Not everything has to be explosions and gun fights.

All of which leads me to what had me thinking about "inciting incidents" in the first place, other than that's what we're working on in class, right now. The thought was something like, "If someone was making a biopic of your life, what would your inciting incident be?" I mean, there's no need to cover anyone's whole life in one story, right, so, if you were looking for the most significant moment, the moment of change, what would it be? Sure, that can be a lot of different things depending on the story you want to tell, but, let's say, it's about, for me, being a writer. That inciting incident is not one of Action. It was just a quiet moment where I read something (I talked about it way back here if you want to read about it), but it changed me.

Anyway... That was just a stray thought that prompted all of this, but I do think it's important to not skip the exposition and to know what your inciting incident is. If you're a writer, that is. Or if you're not, depending upon how you want to take this. Maybe you've never had an inciting incident in your life and you need one? Sometimes, all it takes is a decision.

Unexpected Applause: "My Killbot Buddy"

I've made no secret of my general dislike of "starting in the middle of the action" as a way to begin stories. Usually, "starting in the middle of the action" is just a cover for a weak beginning (at least "weak" in the eyes of some TV producer (because it's TV where we find this most often used)) and, after starting as near to the climax as possible, we get the inevitable "48 hours earlier." I just hate that. Seriously. Ask my wife. Any show that uses that tactic as a regular opener holds no real credibility for me. [Only very occasionally does this work for me, like that episode of Firefly that opens with Mal naked and stranded. However, if you're about to show me your characters handcuffed to pipe in a room filling with water for the 7th time this season, please, just don't.]

There are ways of starting a story in media res that do work. For instance, A New Hope opens with a prologue scene of of the battle above Tatooine in which Leia is captured and the droids escape to the planet. The actual exposition of the story does not begin until we switch to the introduction of Luke. That kind of thing works. It gives us background while immediately hooking us. Imagine that story starting in the trash compactor, though, and, then, flashing back to the events leading up to that. That would be horrible. Harry Potter opens the same way, by the way, with a prologue of the baby being taken to the Dursleys; the exposition begins when we switch to about to have a birthday Harry. [I think I read somewhere that Rowling actually wrote that first bit as a prologue, but the publisher made her shift it to "chapter one."]

Another way to start a story in the middle of the action is to open with a character who doesn't know what's going on. For whatever reason. Part of the point of these types of stories is to go along with the character and figure out what's happening and why. Rusty Carl does a pretty great job of that in "My Killbot Buddy."

[And, man, that's one killer (no pun intended) cover Rusty whipped up. I think it's my favorite piece by him yet.] Not only does the protagonist wake up with no memory (for very good reason (which, yes, is important (because I hate the whole "oh, let's have our character have amnesia" thing))), but he wakes up as... old. He doesn't remember getting old, and, man, what a shock that would be. Oh, and, yeah, he's the most hated man in the world. How the heck did that happen?

And that's what we have to find out, what our character is trying to figure out. It's an interesting discovery and the story is wide open at the end. Which is not to say that the story doesn't end, because it does. But it ends in the way you would enter an airlock: one door shuts and another one opens. We're in the airlock with this story, so, when the other door opens, you can see that there is a whole world to be explored out there, but Carl doesn't take us through. What lies through that door is only what we can see with our minds.

But I do hope that he comes back to this and gives us more than a peek as to what's on the other side of that door.

This is a good strong "A" of a story, possibly my favorite by Carl, thus far. It has robots. Which is not why, but... well, it has robots.

Unexpected Applause: Cassastar

So... following on the heels of all the discussion about reviews is... a review. And, probably, this is one I should have gotten to a long time ago, but I have a huge stack of books waiting to be read, so it took a while to get to this.

Alex Cavanaugh is pretty well known in these parts and not without reason. Not only has he written a couple of best selling books, but he's incredibly supportive of other writers. His name gets around. But we're not here to look at the author but his book. His first book, that is: Cassastar.

As usual, let's look at the technicals first:
This is easily one of the best edited small or independently published books I've seen. In the top 3, for sure. I wouldn't know more specifically than that without going through those three books and actually counting up the errors, and I'm not going to spend the time doing that. Although there are a few more toward the end than in the beginning, except for one consistent misspelling of a word by substituting in a homophone for it, all of the mistakes were just things that got missed, like "as" instead of "a" or things like that. There are no consistent punctuation errors at all. Without the rather routine editing issues I've come to expect from independently published works, this became a rather enjoyable read for that alone. I'd give it an A on technicals.

Without getting into the actual plot of the book, I'd say it's a fairly routine space romp. Think Top Gun meets A New Hope with a dash of Battlestar Galactica thrown in for good measure. Of course, Alex does add in his own bits, too, such as the telepathic abilities of the Cassans (and possibly other, more rare, mental abilities that we don't encounter during this first book (well, we do encounter one other, but that would be telling)), and those abilities play a role in what unfolds with the plot, so they're not just icing on the cake, so to speak.

At any rate, the plot is not very complicated or unpredictable, so, if you're looking for some big twist ending or endless convolutions in your plot, you should look somewhere else. Plot-wise, you're going to get a fairly straightforward story. The only real issue with this is that Alex waits to reveal the conflict, or that there is any conflict, until well after the first third of the book. It left me feeling somewhat adrift during Byron's training because it was impossible to tell that anything else was going on other than boot camp.

Of course, the plot is not the point of the story. Cassastar isn't about an interstellar war, it's about the characters, and Mr. Cavanaugh does a very realistic job of drawing his characters and fleshing them out. In fact, there is real character growth in the book, which is not something that's all that common in these days of flashy, all out action all the time. Byron is not the same character at the end of the book as he starts out being. Neither is Bassa. The book is about friendship and how "iron sharpens iron;" the plot is only there to facilitate that journey. In this respect, the book often reminded me of the relationship between Frodo and Samwise in The Lord of the Rings. It's all very British feeling.

It's a solid job of story telling. Good characters. Good action. A nice, entertaining read. There's enough to it to make it above average, and, coupled with the lack of grammar issues, I'd give it a nice, solid "B." It's not great or earth-shattering, but it is good entertainment with some insight into "humanity" thrown in to make it worth the time.

If he be worthy... (of pop culture)

Star Wars amazes me with its ability to continually evolve our culture. Everyone, well, most everyone, acknowledges the deep impact that A New Hope made when it was released in 1977. Many, though, would believe that that is where the impact ended. I say thee nay! The Phantom Menace, also, made many lasting changes in our (pop) cultural awareness and created many changes within the movie industry, not the least of which was Lucas' insistence that TPM only be played in theaters with digital sound. That was the reason for the price hike in tickets when TPM was released as theaters scrambled to update their sound systems and cover the costs out of someone else's pockets. However, TPM is responsible for creating another cultural phenomenon: the midnight movie release.

And let me just say: "I'm getting too old for this sort of thing."

It's been a couple of years since I went to a midnight show, and, last night, I remembered why. And it's not just because I don't have the same stamina that I had a dozen years ago when TPM came out and I still wasn't 30, because I handled it better than the not-yet-30-year-old friend I went to the midnight showing of Thor with. I mean, I don't have that same stamina, and I'm feeling the lack of sleep today in a way I wouldn't have a dozen years ago, but, really, that's not the issue.

When TPM came out, -everyone- went to the midnight show. I don't mean that in the sense that everyone went, but Star Wars fans of all ages went. There were kids there. There were teens there. But, more importantly, there were adults there. Real adults. Not just college students. People in their 20s, yes, but also people in their 30s, 40s, and, even, 50s. It was calmer. More civilised. Not random and clumsy like midnight showings are today.

There has been a slow devolution to the crowd at these midnight things. People my age just, really, don't show up for them anymore. It's all kids, now. It's like some surreal kegger with no alcohol. Not that I've ever been to a kegger, but, you know, I've seen them in movies. People jumping over the seats. Throwing things. Being loud. I remember thinking all of this a couple or few years ago when Spider-Man 3 came out. How I was never going to another midnight show again. Ever. But midnight last night ended up being the only available time I'd have to go see Thor with my friend this weekend (it's a very busy weekend), and we wanted to see it this weekend, so we went to the midnight show.

Around 11:20 a guy comes in dressed as Thor. It wasn't a bad costume. He was the only one dressed up, but there is always, at least, one. The theater management chased him down and awarded him with 12" Thor action figure. We know, because he talked about it very loudly. He was, by far, the loudest person in the theater, in fact. And he proceeded to sit down right behind us. Him and his buds. Of which, one was a girl. Also quite loud. He and the girl proceeded to open the action figure and play with it and complain about the fact that it came with a sword. Not that the hammer wasn't there, but there was also a sword. I'm thinking "bonus" but they went on about the inclusion of the sword at some length.

Then... then it got really good. The guy started translating the runes on the hammer. You know, because he's an expert at that sort of thing. He determined that they had spelled some of it incorrectly. Not the runes, he said, but the English. Yes, they misspelled the runes so that the English came out wrong. And he knows, because he's an expert. And an English major. He stated that several times. I'm guessing because that gives him an extra ability to translate Norse runes.

I really, really wanted to laugh. At him. Not with him. But I was good, and I didn't. Because I do have a degree in English. A finished degree. Not an in process degree. Not that that makes a huge difference, but I do, amazingly enough, remember being 20 and being, well, full of myself. But I keep telling myself I wasn't that bad. I wasn't! For one thing, I'm sure I was never that loud. Of course, I'm not the kind of personality that dresses up for those kinds of things, either. Even when they're Star Wars.

Finally, the movie started! Mostly, they shut up. Mostly. At least, we were able to tune them out once we got involved in the show. Up until the point where the film went out of alignment during the climax, and they started yelling about it. Of course, they weren't the only ones yelling, at that point. It took the theater personnel almost 10 minutes before they fixed that.

Despite all of the... technical... difficulties, the movie was good. Not Iron Man or Spider-Man good, but good. Certainly better than The Dark Knight although I'm sure that that will be a very unpopular opinion (but seriously, have you ever tried to sit through Dark Knight a second time. If you can't sit through something on a second viewing... well, that just drops the rating). And Hemsworth was an excellent choice for Thor. I was impressed. I'm going to have to consider not allowing my wife to see the movie, since he does parade around sans shirt at one point. Ray Stevenson, also, was excellent. It was good to see the Warriors Three in the film.

Asgard has a great look. It's very Jack Kirby. Stan Lee makes his traditional cameo. There's a nod to Journey Into Mystery, the comic book in which Thor makes his first appearance, if you're paying enough attention to catch it. And it was good to see Agent Coulson (Clark Gregg) get more play. Even Hawkeye makes a brief appearance, which was also great. Anthony Hopkins filled out the role of Odin perfectly, and he probably didn't even break a sweat doing it. Although he did lose an eye.

None of this to say that the movie didn't have some faults. There were some changes made to Marvel cannon that I can't bring myself to approve of. The main one, on the surface, was made for "story" reasons, but it wasn't necessary. If you're not a comic person, a Thor person, specifically, you'll never know, but it's one of those things that, as a fan, I have to wonder what they were thinking when they did that. Yes, it bothers me. But it doesn't affect the movie itself. The main flaw with movie is a bit of waffling with the character of Thor. He vacillates between being confused about Earth and seeming to not know where he is or what's going on to being very wise about Earth and the ways of man. It's like they couldn't decide which way to play the character and so used either of the extremes to fit the mood they wanted at any given moment. It would have been okay to have started at confused and ended at wise, but going back-and-forth doesn't really work.

I do wish I had gone to see it in 3d, though. Some of those scenes looked like they would have been amazing in 3d. But they keep jacking up the price difference between the 2d and the 3d, and they finally jacked up to where I'm not willing to pay that difference. At least not until The Phantom Menace hits theaters in 3d next February. And, possibly, Cars 2 this summer, because that's how my kids will want to see that.

At any rate, Thor shouldn't have the issues that Marvel has had with the Hulk movies. It's enjoyable. It's not deep, but it is a good romp. It places another piece of the puzzle for the upcoming Avengers movie, and it lays the groundwork for a sequel that should be able to go a bit deeper and do a bit more, so I think it was a great start to the franchise. Yes, I say franchise, because I will be very surprised if we don't get word soon that there is another in the works.

I hope you all enjoyed this pop culture edition. Remember, it stays crispy in milk!