Nothing is stranger than revisiting something you did a long time ago. People change over time, and so it can feel as if you are reading a brand-new author. If I were a third-party, I would be quite baffled to find that the person who wrote this absurdity also wrote this. And now I am forced to confront the fact that not only did the same person write it, but in each case, I was the perpetrator.
Effectively, I might as well be a completely different person than the stuck-up teenager who first sat down to write thinking he’d be the new P.G. Wodehouse or W.S. Gilbert. And yet, presumably that teenager is still stored somewhere in my brain, although try as I might, I sometimes have difficulty summoning him to explain what he was thinking.
Anyway, that’s all a tangent. Here is “The King”, or “What I Thought Was Funny At The Time”. Enjoy!
“Wer mit Ungeheuern kämpft, mag zusehn, dass er nicht dabei zum Ungeheuer wird. Und wenn du lange in einen Abgrund blickst, blickt der Abgrund auch in dich hinein.” [He who fights with monsters should look to it that he himself does not become a monster. And if you gaze long into an abyss, the abyss also gazes into you.]—Friedrich Nietzsche, Beyond Good and Evil. Aphorism 146
On June 6, 2014, I was struck with the inspiration for a novella. It came to me in a flash as I was riding in the car. I had just begun work on what would become The Start of the Majestic Worlda few weeks earlier, but the idea for this other book came to me so close to fully-formed that I felt compelled to write it down. I finished the first draft in August of 2014, and then spent the next year editing it.
What was remarkable about the experience was how easily it all came to me. Normally (for me, anyway) writing a story is a difficult and tedious process. I have a general idea what I want to do, but filling in all the details is a long, painful ordeal.
Not on this one. 90% of it came to me in the space of a day. Everything from a detailed plot structure to the characters to minor bits of description and lines of dialogue appeared ready-made. It was almost as though the book wrote itself. Not only that, but I very quickly became convinced it was the best story I had ever written.
So why, given that, haven’t I already published it, since I wrapped it up over a year ago?
Well, the thing is, it’s really, really dark.
Most of my stories are horror, or at least have horror elements. I’ve written stories involving human sacrifice, murder, torture, demonic possession, and all sorts of other disturbing things. So it’s not like I’m a stranger to grim subject matter.
But this was different. It was creepier than even some of the stuff that Colonel Preston did in Majestic World that I ultimately cut for being too disturbing. And the ease with which it all came to me only made it more troubling.
I did a lot of soul-searching after writing this book. That sounds dramatic, but I really did start to wonder about what kind of mind would come up with this kind of stories.
A lot of things have changed in my life since I first got the idea to write it, and for whatever reason, I haven’t felt the same desire to write horror since I finished it.
I was thinking about this recently, ever since the calendar turned to October. I still love this month, and Halloween, and spooky stories–but I think I want to return to writing less intense stories; more on the order of The Revival,that stresses atmosphere and mood. And maybe I’ll dabble in other genres as well.
With all that said, I am thinking of publishing this book soon. I spent the time to write it, so I think it is worth putting out into the world.
This movie has all the flaws of every Star Wars movie ever made, only more so. It has dialogue that is worse than anything Lucas ever wrote. It has characters who appear out of nowhere, with no buildup, and are disposed of summarily almost as soon as they arrive. It has a plot that makes Attack of the Clones look like an intricately-woven masterpiece of storytelling. It has horrible CGI special effects that are worse than the prequels’ decade-old CGI effects, and it has sets and costumes that are worse than the originals’ four decades-old sets and costumes. Somehow, the CGI stormtroopers in the prequels look more real than the real stormtroopers in The Force Awakens.
The villains in this movie are called things like “the First Order” and “the Knights of Ren”. It is not clear who they are, what they want, how they got there, or how they got all the men and materiel that looks like the stuff the Empire had 30 years before.
Opposing this inexplicable fascist regime is something called “the Resistance” which is allied with something else called “the Republic”. Since these organizations are both affiliated with the heroes from the originals, the fact that the First Order achieved this absurd degree of power indicates that Luke, Leia, Admiral Ackbar and the rest must be utter morons. They toppled one Empire only to somehow allow another one almost exactly like it to spring up!
Luke, perhaps having become rightly ashamed of his role in this disaster, has vanished, and Leia is looking for him. The movie begins with a Resistance pilot, Poe Dameron, meeting an old man who gives him a map that may lead to Luke. Poe then gives the map to a droid, and is captured by the stormtroopers of the First Order. The droid escapes and is rescued by a junk scavenger, Rey.
Meanwhile, the lead villain, Kylo Ren, interrogates Poe, who eventually tells him about the droid. While Ren is away, one stormtrooper decides to free the pilot and escape with him. The stormtrooper, who is named “Finn”, apparently managed to resist years of brainwashing and became horrified when ordered to fire on civilians. This has led him to desert. (His name and his intro both made me think of Flynn Taggart)
The two steal a TIE fighter and escape, but are shot down. Finn ejects and, thinking Poe has been killed, wanders the desert planet for help, eventually finding Rey and the droid, moments before the First Order soldiers do. Rey, Finn and the droid escape aboard the Millennium Falcon, which is conveniently in the junkyard / shantytown that Rey lives in.
Let me now pause the synopsis to analyze this sequence. The Millennium Falcon is an extremely famous ship. As we shall find out soon, Han Solo, the ship’s owner, is legendary for his exploits in the war. Moreover, Rey makes her living selling ship parts scavenged from wreckage, and yet for some reason a fully-functional ship was sitting right here?
During their escape, they of course engage in a dogfight with the First Order forces. At one point during this fight, one of them says “we need some cover.” Cover is essential during a gunfight on the ground. It is virtually impossible in an aerial battle. This is utter nonsense.
Let me also stop to mention that Daisy Ridley’s flat performance as Rey pretty much kills any tension this scene might possibly have possessed, though in fairness to her, Rey is extremely unlikable, so it’s not all Ridley’s fault. John Boyega’s performance is good, and Finn is a relatable “Everyman” character, but it’s not enough to save the scene. This state of affairs will persist throughout the film, so feel free to go back and re-read this paragraph every time I mention either character– it will apply equally well at that time.
Somehow or other, the two get pulled aboard a large and sinister ship. They hide in the Falcon‘s trademark secret compartments, which does no good at all when they are boarded by Han Solo and Chewbacca, who know that underneath the floor is the first place to look.
Rey and Finn are shocked to meet the legendary Han Solo, who tells them that Luke is missing, and looks at the map the droid is carrying. He tells them it will help them locate Luke. He also tells them that he is smuggling some kind of giant monsters, and has apparently angered some tangential hooligans in the process.
By an extraordinary coincidence, several rival gangs of these tangential hooligans happen to show up at once, demanding that Solo pay them back or turn over his cargo or something. The hooligans also are looking for Rey and Finn and the droid on behalf of the First Order, even though the First Order only realized they should be looking for them 20 minutes earlier.
At this point, the monsters get loose, killing the hooligans and enabling our heroes to escape in the Falcon. Han urges them to join the Resistance and takes them to a cantina clearly meant to evoke the one in A New Hope.
Here they meet the worst character in all of Star Wars–a poorly animated cat with glasses. Yes, you read that correctly. All I can think is that someone said “What if we crossed Jar Jar Binks with an Ewok, and then gave them the same function as Dexter Jettster?” And then they did it, and they got this idiotic character, who is ham-handedly introduced for the sole purpose of plot development. The character is named Maz Kanata, but they should have just called her “Eks Pozishun”.
Around this time, Finn decides he wants to run away and not bother fighting the First Order. He tries to arrange passage to the Outer Rim with some more tangential hooligans. Elsewhere, Rey wanders off down a dark corridor where she hears ghostly voices. There she finds Luke Skywalker’s lightsaber in a pile of junk. When she picks it up she is subjected to a vision that indicates she is Force-sensitive. She’s scared by this, and says she doesn’t want the lightsaber when Maz comes to find her. (Maz, by the way, somehow came to have Luke’s lightsaber. The ridiculous contrivances never end in this Galaxy.) Rey runs away, and Maz gives the lightsaber to Finn.
Meanwhile, the First Order has just completed building their impossible planet-destroying base that makes no sense. One of their military commanders, who makes the Colonel from Avatarlook like a subtle, nuanced and well-developed character, gives an absurdly hammy speech to celebrate the first firing of the superweapon.
It was completely unclear to me what they destroyed with it. I mean, clearly it was some important bunch of planets, but who the people on the planets were, or what was important about those planets, or why we should care about them was unexplained. Hack screenwriting at its absolute worst.
I know, I know: you’re thinking “But the same thing could be said about the destruction of Alderaan in Episode IV!” Well, yes; but it worked in that movie because everything was new. It was the first one most people saw, and we expected to be dropped in the middle of things. Force Awakens is supposed to be a follow-up movie, and so the audience reasonably expects to be able to follow along from the previous movie, and not have a bunch of new stuff dumped on them.
Could they not have blown up something we cared about? Something we had seen before? Barring that, could they not have at least blown up something that had some strategic significance?
At roughly the same time that they are blowing up the planets, Kylo Ren and his men arrive at the planet Solo, Finn and Rey are on, and commence shooting everyone. Ren captures Rey, and carries her off in accordance with melodramatic tradition. I was surprised he didn’t say “I have you now, pretty one!”, and twirl his mustache, except of course he has no mustache. Possibly the reason for the mask is that he was ashamed at being a stock villain who had no mustache.
Finn fights off the stormtroopers using Luke’s lightsaber, and “the Resistance”, including Poe, arrive in X-Wings to fight the First Order. This is the one part of the film that might have managed to evoke some nostalgia for the original Star Wars, except that such battles have been done better and more often by countless of the “Expanded Universe” stories. This tiny dogfight paled next to, say, Rogue Squadron II. But I suppose the generation Force Awakens is pitched at never played those games.
Ren and his forces leave, and General Organa (formerly known as “Princess Leia”) arrives, and shares a brief moment with Han Solo, the father of her son (Kylo Ren). It’s the best scene in the movie, probably because the annoying newcomers get out of the way for once and let us see two original Star Wars characters (one of whom is even portrayed by a good actor!) speaking to each other. Their lines are really good too:
Han: You changed your hair.
Leia (giving him a sarcastic look): Same jacket.
Han: No… different jacket.
This was a good scene. It deserved to be in a better movie.
Leia and the Resistance take Han and Finn and the rest of the crew to their base, where they begin to analyze the situation. The First Order’s new weapon is an even biggerDeath Star–a hilariously lame idea that the movie seems hellbent on emphasizing as much as possible; going so far as to have the Resistance displaying holograms of the two weapons side-by-side.
Oh, and do I even need to tell you that Ren has taken Rey to this same super-base to interrogate her regarding the whereabouts of Skywalker? Didn’t think so. You’d think these evil overlord-types would have learned by now not to conduct all their business aboard their superweapons after what happened to the first two Death Stars. It’s like if Hitler had his personal office on the battleship Bismarck.
Rey resists Ren’s interrogation, and for some reason he takes his helmet off, revealing that he looks like a young Alan Rickman-as-Severus Snape. (I suspect Disney’s marketing people were well aware of this resemblance.)
The Resistance, realizing they have to destroy the new superweapon, launch a daring raid to infiltrate the base, led by–who else would you choose?–Han, an old man who has already deserted the cause once, and whose own son is the leader of the enemy forces, and Finn, who a few days earlier actually worked for the First Order.
Rey meanwhile has managed to escape and is wandering around the First Order’s base at random. Ren can’t use the Force to sense her because he is too busy throwing temper tantrums that would make even young Anakin Skywalker ashamed.
Han, Finn and Chewbacca eventually run into Rey, and then set out to plant the explosives at the critical point that will destroy the station. But will they be in time? The weapon is nearly charged, and the Resistance leaders know it is mere moments from firing and destroying their planet.
Many have criticized this sequence for being blatantly copied from Episode IV. But that’s not really the problem. All the Star Wars films intentionally echo one another; so having this same setup isn’t what’s wrong with this sequence.
What’s wrong with this sequence is that it’s done really badly. Everything about it feels like the work of amateurs. No–not amateurs. Hacks. It feels lazy. When experts do it, it’s a recurring leitmotif. When amateurs do it, it’s a loving homage. But when hacks do it, it’s just depressing recycling.
When the First Order base is close to firing, C-3PO actually says “It will take a miracle to save us now!” This is by far the worst line in Star Wars. I can’t believe it made it past the editors. Note that there is no similar line in the equivalent scene in A New Hope. That’s because Lucas didn’t need to tell his audience “Hey, you feel tension now! The heroes are in trouble!”; he had built that feeling organically, and the actors expressed it with their eyes and their body language. A New Hope is by no means a great film, but it felt like the work of people who cared.
Star Wars died for me at this point. So I guess it was fitting that in the next few minutes, the last truly interesting and likable character–not to mention good actor–from Star Wars also made his exit.
Aboard the base, Han confronts his son (while standing over a bottomless pit, of course) and asks him to return to the light. Ren removes his helmet, turns to his father, says some words of contrition–and then runs him through with his lightsaber. The mortally-wounded Han then plunges into the pit below.
It’s a powerful moment–more powerful, indeed, than J.J. Abrams “can possibly imagine”; because it symbolizes how his movie destroys the soul of the franchise. Here we have a beloved character from the original movies being cut down by a two-bit emo villain cobbled together from spare parts. This is the moment when Star Wars fundamentally changes from being the epic space opera Lucas envisioned into, in every sense, a Mickey Mouse operation.
The rest is perfunctory–the X-Wings blow up the enemy base, the heroes fight a lightsaber duel with the villain (Both Finn and Rey take their turn) and escape victorious back to the Resistance base. It all feels very much done in haste–“here you go, here are your classic Star Wars tropes, eat them up!”–with no emotional power. The essence of the characters is forgotten. We never really see Leia mourn Han’s death–there’s no time for characterization or emotion, as she has to hustle Rey along to the final plot point: finding Luke Skywalker.
R2-D2 powers up and together with the new droid they are able to complete the star map that leads to Luke–a scene that looks even more ridiculous than it sounds, once you realize it is comparable to the Joint Chiefs of Staff having been unable to locate a China-shaped cut-out from a map of the Earth.
Rey flies off in the Millennium Falcon to a very beautiful planet of rocky islands. There she finally finds the protagonist of the original trilogy, looking worn and grizzled, with a thick grey beard. Luke, ever the odds-defying hero, pulls off one more miracle escape: the film ends before his character can be ruined along with everything else.
I’ve criticized George Lucas a lot, and he made a lot of artistic decisions I don’t agree with. But dammit, he was an artist, and he had a talent for film-making. And what’s more, he had a vision. Here there is talent, perhaps, but no vision. This is a cargo cult Star Wars–made by copying superficial aspects only, with no understanding of what made it compelling.
Given all that, why do so many people like The Force Awakens? I don’t know–maybe it’s the same reason so many people like Donald Trump: both are loud, in-your-face, and have so much money backing them that they won’t go away.
Philip Eil, writing in Salon, has a good article on “the genius and repugnance of H.P. Lovecraft”. It’s an issue that I think every Lovecraftian author has had to face at some point: how can we reconcile admiration of the “cosmic horror” genre that Lovecraft did so much to pioneer with his horrifying racial views?
It’s the old dilemma of separating art from the artist; similar to having to come to grips with the fact that Richard Wagner could on the one hand be enough of a genius to write “Ride of the Valkyries”, and on the other be an anti-Semitic bigot. There are too many examples to count of cases where somebody is an absolute genius in their field, but a wretched person otherwise.
But there’s another, even more troubling question in the case of Lovecraft: what if the reason for his racism was also the reason for his talent for writing horror?
Racism, after all, is inherently based on fear of “The Other”. Lovecraft was afraid of any and all non-WASPs, and it was probably that same xenophobia that made him able to concoct weird and terrifying creatures like Cthulhu.
Before anybody decides to quote me out of context: no, I’m not saying you have to be a racist to write horror. I’m just saying Lovecraft’s racial fears and his horror often seem inseparable. “The Horror at Red Hook” is, technically speaking, a good horror story, but it also turns into one of Lovecraft’s most appalling racial screeds.
S.T. Joshi, the prominent Lovecraft biographer, is quoted in the Salon article as saying “There are perhaps only five stories in Lovecraft’s entire corpus of 65 original tales (‘The Street’ ‘Arthur Jermyn,’ ‘The Horror at Red Hook,’ ‘He,’ and ‘The Shadow over Innsmouth’) that have racism as their central core.”
Well, let’s not forget that in Lovecraft’s best-known story, “The Call of Cthulhu”, the evil cultists are invariably swarthy, unlike the Anglo-Saxon or Nordic “good” characters. I don’t know how you define the “central core”, but racism is certainly present in huge swaths of “Cthulhu”.
However, while Lovecraft’s general fear of everything that wasn’t born and raised white and in Providence may have sparked him to be a horror writer, I do think his best stories (“The Haunter of the Dark” and “The Music of Erich Zann”) are the ones that don’t have racism. (“Haunter” has a little bit of condescension towards Italians, though they are ultimately proven right in their superstitious views.)
Whenever Lovecraft’s racial views crop up in his stories, it has the effect of bringing the reader “back to Earth”–sometimes literally, since it puts the focus on the transient prejudices of a 20th-century writer, rather than on the timeless, cosmic sense of alien fear Lovecraft sought to evoke.
So while it may be that Lovecraft’s xenophobic mindset put him on the road to writing horror, I take comfort in the fact that his most effective stories were the ones that he didn’t corrode with his racism, and stuck to exploring universal human fears of unimaginable and unearthly monsters.