Congratulations to George R.R. Martin and Jon R. Bowman on the reopening of the Jean Cocteau Cinema in Santa Fe, NM, this weekend (Aug. 9).
A labor of love, as the saying goes, an effort by Mr. Martin to bring back the one-screen, intimate theater showing interesting movies without too much worry about whether said film will top the weekend box-office charts, along with a recognition older movies still have something to say to us. Such theaters are an endangered species as the multi-theater multiplex continues to squeeze them out.
Usually, you find such efforts in larger cities because there’s a better chance pf success. Santa Fe is not a big city, but it has an eclectic population that does like alternatives in books, movies, restaurants and lifestyle. So, while its a risk, it’s not a pie-in-the-sky dream.
It takes more than just a love of film to open such a theater. It takes budgetary planning, a knowledge of finances, a knowledge of how film distribution works along with a knowledge about the films themselves, which ones are likely to draw an audience, what kind of an audience that will be and how many days they might be willing to come for a particular movie. That usually falls to a manager the owner — who might be a film lover but a bit weak on the mechanics of showing them — chooses to run his heater.
And Mr. Martin couldn’t have picked a better managerthan Mr. Bowman. He knows film, he’s studied them formally since college (and probably informally since he was a kid) and he reviewed them for many years for the local newspaper. As director of the Santa Fe Film Festival, he learned about the distribution of new movies and movies making the film-festival circuit. which film creators might be available to attend and making sure they’re treated right, and how to entice an audience to come and take a chance on these movies. All while trying to keep things on budget. While Mr. Bowman’s personal tastes in films are sometimes, shall we say, a bit skewed, he does know the value of bringing films with wider interest, especially when trying to make a go of a small theater.
And it won’t be easy. The bigger chain theaters will have first crack at the big movies (something the Bowman-Martin team likely wouldn’t be interested in anyway), but they’ll also be in the position to get the smaller ones, too. And in a few months, a new multi-plex might rear its ugly head a few doors down in the Railyard retail complex. Might open — there’s been talk for years about opening a theater in that spot, but all have failed in one way or another. This one looks the most promising, but the Martin project has a big advantage: It’s open now, it’s real, it’s showing movies, it’s not just talk, it’s not just a dream.
Well, it was once, a dream born of Mr. Martin’s desire to regain the pleasure he once had of watching movies in small venues where the crowds were small, the movies intimate, the popcorn tasty. (That last isn’t just a wish — when the Jean Cocteau was showing movies in its earlier incarnation, it’s was renown for having the best popcorn anywhere. Martin-Bowman are under the gun to repeat that.) Santa Fe is lucky Mr. Martin is in a position to make his wish a reality. And while one would would expect that because of Mr. Martin’s affinity for science fiction and fantasy, that’s all that will show there, but one would be wrong. Both Mr. Martin and Mr. Bowman know that to make a success of the operation, they have to attract as many movie-lovers as possible. This means a wide range of films, and you can bet that’s what we’ll get. OK, so maybe the opening films for the free-admission opening week — Forbidden Planet (1956), one of the classiest SF films ever made; Orpheus (1950) directed by the theater’s namesake; and Dark Star (1974), John Carpenter’s darkly funny look at space exploration — may be biased toward SF/fantasy, but let them have their new-toy fun, eh? Dark Star is the midnight movie, so they have your fun in mind, too, see?
So, raise your bag of popcorn in a toast to the rejuvenated Jean Cocteau Cinema, may it shine a light in the dark — so we can see at least the film.
More information and photos are on the theater’s website.
Superheroes are everywhere. You’d think they were gods or something.
Humanity always has had a yen for something greater than itself, someone or some thing that will fight for the oppressed and right the wrongs in society.
Because it’s so hard to do it oneself, right?
Super-strong and/or super-smart creatures of myth go back as far as golems and Herculeses and messiahs and archangels, but for our purposes, superhero history starts in April, 1938 with the publication of Action Comics No. 1. The cover sported a man in red-and-blue tights smashing a car into a boulder as (presumably) the crooks flee in terror. The man in tights was Superman, as if any American born after 1938 couldn’t tell.
Superman was a big hit almost immediately and still is going strong, fueling a billion-dollar business today with video games, movies, comic books, graphic novels (thicker comic books, some with hard covers, to make them at least look sophisticated) and all the assorted merchandising therefrom. Superman’s got more staying power than any battery-operated bunny and he’s known worldwide. Children whose great-grandparents picked up Action No. 1 have a broad choice on which Superman story to follow. If you’re interested in Superman’s personal history and all the permutations to this point, and about the men who created him, Larry Tye’s Superman: The High-Flying History of America’s Most Enduring Hero (Random House) is a fine account.
Tye did an excellent job for me in tying together the many threads that are Superman. As each generation changes to the next, publishers feel a need to update their superheroes lest they be become obsolete or even worse, unhip. This has led to the many variations of Superman and his ilk: Batman, Green Lantern, Spider-Man, the Hulk, The Fantastic Four, Wonder Woman, Captain America, Captain Marvel (and Junior, Mary and Uncle), Ant Man, Aqua-man, The Human Torch, Plastic Man, Wonder Man, The Shield, Sky Wizard, Magno the Magnetic Man, Red Raven, The Green Lama, Iron Man, The Flash and so on and so on to just about infinity. Some of those are oldies and long gone, some are oldies but still around and even more have yet to be discovered. It’s a wide, wide world in the realm of the superhero.
My first experience with Superman was in the ’50s when he seemed … boring. Either he was in a romantic tiff with Lois Lane or Lana Lang or some other “LL” girl or he was being warped out of shape by the various colors of Kryptonite, or he was – temporarily, always temporarily – about to be eliminated by Brainiac, that ‘LL of a guy, Lex Luthor, or that guy with the all-consonant name. Bizarro was the interesting character; his warped being and that warped world he lived in much more interesting than the latest lecture on how superbeings must always do good. And I couldn’t stand Jimmy Olsen.
The arrival of the Marvel superheroes didn’t do much for me, either. Yeah, I know Marvel saved or reinvented superheroes (depending on your point of view), but they were all too whiny and too inward-looking. They were superheroes, for goodness sake, couldn’t they come to some conclusion and then get on with saving the world? And yes, the art was great, but the characters … meh. Mostly. Occasionally one stood out. The Thing, the Hulk, Captain America, Fin Fang Foom. (Wait – that last isn’t a superhero, is it? He’s one of those weird Jack Kirby monsters who were often more interesting than the superheroes.)
And the Marvel villains – talk about going off the scale! Planet-devouring gods. Mystic bald-headed advisers. A man with metallic arms attached to his side. A shiny surfer (in a ploy to show the surfer crowd that superheroes can be cool, too).
DC couldn’t just stand by in the face of all this, so their supervillains started getting bigger and badder. Until one came along who could kill Superman. For a while, at least.
This points out one of the basic problems of superheroes: they need enemies that can fight at their level. If you’re a superhero, just arresting bank robbers, thieves, corrupt politicians and greedy CEOs will get boring after a while. So, eventually the Lex Luthors, the Brainiacs, the Dr. Dooms, the Jokers, the Galactuses, the Doomsdays, the Doctor Octopuses start appearing. And with each iteration, they get meaner, more destructive, and more personal in their vendettas. Only on rare occasion is a villain destroyed; but usually they just slink away, only to come back later. Or escape the insane asylum
This constant recycling of bad guys became a problem for me. In the superhero realm, this has to do with prohibitions against killing. In the real world, it has to do with the writers unable to come up with a new villain. Look, shoot ’em, punch ’em, break ’em , zap ’em, pulverize ’em– just get rid of them. Granted, it’ll be hard to replace the Joker, but it’ll be a good challenge for the imagination.
Batman is a special case, of course. He’s not a superhero in the strict sense; he has no power that enables him to fly or move mountains or drop tanks on bad guys. He’s been carrying the trauma of his parent’s death for 70 years now, and he’s gotten darker and darker, until he’s just this paranoid, angry vigilante hiding in the shadows. But that’s part of his charm – if you can call it that.
There’s talk the new move will make Superman darker, too. Tye makes a good point in that Superman cannot really become this because he’s too embedded in the American mythos. In the 74 years of his existence, Superman has become the symbol of what’s good about America. Naive, maybe, but with the optimism and a belief in himself. Just like the country he represents. A dark Superman will suggest that the optimism is misguided at best and worthless at worst. Perhaps that’s a reflection of the country, but as so goes Superman, so goes the nations’ future.
It’s all tied into these generational changes. Each superhero must be reborn, his (or hers) backstory altered to fit the mindset of the hip young, the ones with money and a driving thirst for entertainment. This has led to that tangle of threads mentioned earlier that threatens to engulf all of the superheroes. This is also a failure of storytelling.
Tales of a different set of superheroes (and superlosers) has worked around that problem. The Wild Cards series doesn’t come out in comic-book form but as novels and anthologies (thus perhaps too daunting for some people). Edited by George R.R. Martin (yes, that George R.R. Martin; he does do other things besides Game of Thrones, you know) and Melinda Snodgrass, the series has been going since 1987 and is up to 21 books, soon 22. The series came out of a role-playing game and started with a core group of writers sharing the Wild Card universe. New writers have been picked up along the way, helping solve the staying-relevant problem. The generations not only pass in the real world, they pass in the series, too. The original superheroes have aged, some have died, others have just disappeared; and still others have been born (or mutated) since the series began so there’s always a new crop of heroes. And villains, who come out of the same source as the heroes.
That source was an alien virus deliberately spread into Earth’s atmosphere. Its effects on humans varies; you can become an Ace with nifty superpowers, or you can become a Joker with terrible physical consequences. All this certainly stretches credibility, but it’s better than bites from radioactive spiders, mystical magic, lanterns from space and vats of acid.
The stories are about humans dealing with the cards they are dealt, and it’s not always for the better. Power has different effects on people; not every man endowed with superpowers is going to fight crime and battle for truth, justice and the American way. And other people – heads of corporations, dictators of nations – are going to want to exploit those powers for nefarious reasons. Even reality TV enters into the Wild Card universe. How hip is that?
(A Wild Cards movie is in the works, but if you want to familiarize yourself before then, you can always start at the beginning with the original Wild Cards anthology called, um, Wild Cards. Tor books has released a revised edition with a new story added. Or you can start with the latest, Fort Freak, for a good introduction; Lowball, the 22nd book, is due this year).
As mentioned, the Wild Card heroes at least have ready-made villains instead of having to wit for someone to arrive out of the mist. This idea of superheroes having no one to fight is one of the premises of my own superhero novel, The Tyranny of Heroes. (You didn’t think I was talking about superheroes just for the heck of it, did you?) The heroes – 54 of them, just to make things interesting – descend upon Earth at about the same time Superman did in his universe, during the Great Depression. They start out like Superman did, catching crooks, smacking down nasty landlords, dealing with greedy capitalists etc., etc. They help with big government projects like Hoover Dam while taking care of the Mafia-connected gangs that terrorized the population. Unfortunately for my superheroes, though, there isn’t anyone who can challenge them. So what do they do? Well, they do what I’ve always thought people with superpowers would do – they take over the world.
At first, they are reluctant to accrue too much authority. But World War II persuades them that humanity needs guidance and they’re the only ones who can provide it. Good intentions begin to go awry, as they often do. In trying to fix this problem or stop that injustice, they slowly usurp the powers of the government. Not just the USA government, but all governments. Soon the superheroes are not just in charge, they are dictators. A benevolent dictatorship to be sure, but in securing the world’s safety they have to take draconian actions, meaning dissidents go to jail, certain ideas are crushed, censorship is the norm and all nations must follow the American ideal.
Is that so bad? There are no wars big or small; civil rights are guaranteed for all; electric cars dominate the roads; mag-lev trains crisscross continents; nuclear weapons are banned; every country is economically secure; air, land and water are unpolluted; and national borders are open with passports a thing of the past.
The downside? Humans haven’t gone into space. You want to study Moon rocks? The Supers will bring you all the samples you want. You want to know what Saturn looks like up close? The Super will take videos for you. You want to live in space? Well – it’s dangerous out there and not inviting at all. Humans haven’t explored their own planet much, either. It’s cheaper to send a Super to the bottom of the ocean than it is to build an expensive machine to protect frail humans. The world might have mag-lev trains in 2014, but personal computers are just barely appearing in the marketplace. The Internet isn’t even a dream and cable TV has yet to be strung. Cell phones? Never heard of them.
Scientific and technological advances are under Supers control. While research has eliminated diseases such as smallpox, polio and malaria, everyone in the field must adhere to the Supers rules – or be bounced out (sometimes literally). And often politics plays a part – look at the debacle the Supers made of the AIDS epidemic. (I know what some people are going to say about the politics of all of this, but they will be wrong. This is a fable, not a manifesto.)
Of course, most people are quite satisfied with the way things are. Life is good, why rock the boat? But there is that minority that sees the status quo as a dead end for humanity. They struggle to point out the loss of national sovereignty, the denial of due process, that civil rights don’t exist if dissidents face imprisonment in Alcatraz – or worse. Arrest, trial and execution cane be swift then the overlords have powers way beyond mere humanity.
Still, the Supers have secrets of their own, secrets that could undermine their authority. This is why they keep their origins a secret; this is why research into Super DNA is banned. But they can’t stop human curiosity. One man who feels his family is threatened by the Supers suddenly is becoming a real irritant under their superskins.
Then the Supers suddenly face a threat that does have the power to destroy them, but from a direction they never expected.
The Tyranny of Heroes is an e-book. Clicking on the picture at right will take you to Amazon.com. For now, you’ll have to go to Barnes & Noble through your browser.
Ray Bradbury in my mind was one of the top-tier science fiction writers of trailblazers and inspirations. And now they’re all gone — Isaac Asimov. Robert Heinlein, Arthur C. Clarke and Bradbury.
These were the ones I thought of when I thought “science fiction,” especially in my youth. Clarke was the one I remember reading first and it might have been the cover that caught my eye. I got to the others eventually, each pressing itself into my brain (though I have to admit Heinlein not as much as others, but I really can’t say why).
And thinking of Bradbury as an SF writer doesn’t really do him justice. He did write SF, but it had its own style. The popular way to judge SF is if it’s “hard” or “soft.” To say Bradbury was soft is a misnomer. “Lyrical” is a better term.
And Bradbury could be lyrical about pretty much anything. A sea creature falling in love with a lighthouse (when you see an illustration of a sea creature knocking down a lighthouse, “love” isn’t the thing that comes to mind). A virtual-reality playroom (long before anyone could explain the room with the term “virtual reality”). A circus-carnival train. Mars. Burning books.
OK, I said “lyrical,” not happy. That playroom might have been a marvel of technology, but the kids used it for deadly purposes. Who picks up one generation’s new technology faster? That generation’s offspring, leaving the adults befuddled — and vulnerable. Bradbury saw that. Circuses and carnivals are exciting and wondrous things for young boys, but the glitter and and the noise can cover up some nasty surprises. And government-sponsored book-burning isn’t always as far-fetched as we’d like to think. Bradbury may have been lyrical in his writing, but never obscured the point he was trying to make about ourselves, our technology and our futures. (Although I have to say that lyricism did get in my way. Sometimes I had trouble getting around all those similes and metaphors and the words dropped in to make a sentence more rhythmical. Just me, I guess.)
One thing I never will take away from Bradbury, though, is imagination. That’s what drives successful storytelling and he had it in spades. In this age where the creative impulse is little more than taking someone else’s work and prequelizing and sequelizing it or dumping vampires or zombies into it or gussing it up with awesome CGI makes sometimes Bradbury seem quaint. While imagination does manage to show up occasionally in contemporary culture — see Pixar as example: Wall-E, Up, Toy Stories I-III — it’s definitely taken a back seat. Jerry Schuster, imaginer of Superman, once boasted he could write a story about a Coca-Cola bottle.* Bradbury could, too, if he wanted. And it would be a story you would want to read.
Imaginative writers still write in the SF and fantasy fields following the paths Asimov, Bradbury, Clarke and Heinlein blazed. And they’re not just copying and pasting; they’re original, entertaining and just plain good. Check out the writers listed on this page if you want a place to start.
Bradbury is gone, but his legacy is secure.
*Where did I get this? From Larry Tye’s new book, Superman: The High-Flying History of America’s Most Enduring Hero. I haven’t finished it yet, but so far, it’s a good read.
ConQuest 43 (theme: Into the Unknown) is history now and it lived up to its reputation as a friendly regional con that took place in a mostly convivial atmosphere.
I say mostly because it had the misfortune of being held during a hotel name switch. The con hotel used to be the Hyatt, but that company lost operating rights or however these things work and now the Sheraton has taken its place. And, of course, the new people have to put their mark on the place by putting their own their stamp on it. And the best place to make that statement is the front lobby, which was blocked off completely. This meant getting on the elevator, going up one floor to the mezzanine, walking to the opposite escalator nearly three-quarters of the way around the hotel and riding it down to the one tiny corner of untouched lobby for check-in. Once competed, the same journey had to be made in reverse in order to get back to the elevators that took you to floor, all the while dragging your luggage behind you like dead pets. (And grumbling – a constant chorus of muttered complaints could be heard in the back-and-forth parade of newly arrived and irritated hotel guests.)
Fortunately, I arrived too late to hear the cacophony of jackhammers tearing up the tiled lobby floor, but I heard plenty of complaints about that.
The con itself was a chance to see New Mexico friends such as Parris McBride, wife of George R.R. Martin (George himself being in the wilds of Montana) and Steven Gould (Jumper, Helm, Blind Waves, Wildside); SF acquaintances such Robin Wayne Bailey (Shadowdance) and Gardner Dozois (editor, writer) plus the chance to put faces to names I’ve seen over the years such as Sharon Lee and Steve Miller (Ghost Ship, part of the Liaden series of novels).
This con – and any con held this year, and maybe last year and the next – comes in the middle of the Great Upheaval in Publishing where e-books are coming up strong, panicking traditional publishers, who are doing some rash things in response. They’re afraid of the economic model that allows authors to go around them and make their work available to an audience directly. Many of the writers who attended ConQuest have had experience with e-books either as an adjunct to their print career, a second track to their overall career, or as their main career track. As Gardner pointed out, writers with a backlog of out-of-print titles should be taking advantage of e-book to get those titles back into print and make some money off of them. Steve Gould is one who has done so, and he says his e-book backlist is paying his mortgage. For every writer doing that, however, are several who aren’t because they don’t know how and don’t want to learn. Those tend to be older writers, but they’re hurting themselves. Writers with established careers have fans, who would like to see some of the old stuff again. Plus, e-books could bring in new fans for these writers.
The large traditional publishers have reacted to this by dumping mid-list writers (those who sell steadily but not spectacularly) in favor of those who sell millions of copies and thus earn millions of dollars. Gardner equates this to shooting oneself in one’s foot because the publishers spent all that time and money supporting the careers of these midlist writers, but by cutting them loose, they’re sending he author’s fans away, too. The author then can turn to e-books, continue sell to his backlist to fans with not a cent going to the original publisher.
Some writers are doing both, selling their books to traditional publishers while putting short stories, novellas or even novels on e-book sites. This puts printed copies on bookstore shelves while maintaining an electronic presence, sometimes through a small press. If done right, both methods feed off each other (that is, give the author more marketing presence).
The third category is fraught with uncertainty. This is the author who has no backlist, is perhaps just starting out, and puts a first novel on e-book sites. Because most people won’t have heard of him, the possibility of the book just sitting there is large. E-book self-published authors have no marketing staff behind them, no signing tours planned, no ads in printed or broadcast media (not that those help all that much). Word of mouth – readers telling their friends to read a book they like – is the best ad campaign, but a lone author has little unless he can get his friends to start the ball rolling. So why would anyone do it? Because he he’s got something to say and he knows he’s got a good story, well-written, professionally edited and formatted, so, despite all reasonable expectations being against him, he does it anyway. (Hang around here long enough and you might see something like that actually happen.)
The big problem with doing this is the author watching his beloved child sink into a morass of self-published dreck, never to be seen again. The only consolation is that traditional publishers often published dreck, too, and spent a lot of money doing it.
One worrisome item mentioned at the con was the aging of the attendees. Many fans started attending – and a lot of writers started writing – in the 1960s-’70s, so there was a lot of gray hair walking the hotel corridors. Getting younger folks to attend should be a priority of con planners, yet there seems to a be a reluctance to do this. Old canards about young people not reading cannot be used as excuses because it’s not true. It certainly isn’t graybeards and grayladies buying Harry Potter or the Hunger Games or Brian Selznick or any of the other successful juvenile authors. You must consider youth or your con will just wither away with the Old Ones.
So it was good to see ConQuest make an attempt with the con-within-a-con programming geared toward paranormal romance fans. As was pointed out, SF/fantasy and paranormal romance genres don’t overlap that much, but they still have some things in common. Inviting fans from other genres causes intermingling, which can lead to discoveries on both sides. The old SF/fantasy conventions might change because of this new blood (heh-heh), but change is good.
Long live the genres of any stripe.
So the 100th anniversary of the Star Wars movies has come …
Excuse me, not 100? Just 20? Huh – seems like a long, long time ago.
Maybe it’s because the known universe has been inundated with Star Wars-related stuff. The creators of Star Wars don’t want you ever to forget the films, which is why they re-release them every time new technology come along. When workable Smell-O-Vision finally reaches theaters, you can bet the odors that permeate Jabba the Hut’s lair will soon be wafting through the theater to your olfactory delight.
Some folks even have gone nostalgic in remembering where they were when the first film came out as if it was some sort of worldwide disaster. “Yeah, I was workin’ at my sewer job that year an’ I took my girl and we was blown away by it. We liked movie one and two, but the others kinda stank, knowhutImean?”
The wonder and excitement started right at the beginning when that huge spaceship rumbled over our heads bearing down on that poor little rebel ship, a scene that has become iconic in American film. Movie special effects had been slowly improving over the years, but the use of computers finally gave us believable spaceships. The later sequences of the fighters going up against the star destroyers (or cruisers or whatever, why does everyone fall back on the Navy for outer space terms?) enthralled us because they were new. Never mind that the battle tactics and physics were all wrong for outer space, it was a hoot to watch.
The story itself is as old as the hills; Joseph Campbell and all that, plus liberal helpings from Hidden Fortress, right down to the bickering servants. That’s OK, though, the hero’s journey story still resonates. Burying old plots under glittering special effects is a Hollywood tradition, especially these days. Look at Avatar.
Star Wars sometimes is called a western in outer space. No, it’s a fantasy, pure and simple. George Lucas knows fantasy, he does not know science fiction. Jedi Knights=wizards, light sabers=swords, Princess Leia=Princess Who Must Be Rescued, Darth Vader=Evil Dragon, the Force=magic, R2-D2 and C-3PO=dwarfs/comic relief, Han Solo=the expert swordsman/archer. Spaceships and blasters alone do not make a science fiction movie. Because of Star Wars, a lot of swordplay appears in so-called SF movies nowadays. Why? Because the filmmakers, harking back to days of ancient battles, likely consider one-on-one battles more honorable, or at least more visually spectacular. (Steven Spielberg parodies this when Indiana Jones simply shoots the tall guy with the sword. Was this barb aimed at Lucas?)
As I said, since that day 20 years ago, we’ve seen a relentless barrage of Star Wars movies, TV shows, Internet episodes, books, children’s books, dolls, toys, lunchboxes, bedsheets and who knows what else. It’s as if Lucas wants to expunge anything that doesn’t have to do with Star Wars (Star Trek especially). It’s not enough to make millions on the movies, he’s got to make billions with all that other crap.
I certainly wouldn’t want to live in the Star Wars universe. Beyond the lack of anyone in that universe having any sense of style (Jedi knights in bathrobes, anyone?) are the constant wars. A kid growing up seems limited to two choices as an adult: Storm Trooper or merchant. No art, science, exploration for the sake of exploration.
When Darth Vader first emerged from the smoke in part one—uh, part four—the first movie, I had hoped it wasn’t a human inside that carapace. I wanted whatever was inside to be more machine than man, that we would never see the being inside. Alas …
Let’s play a mind game here. Let’s suppose it played out as I had envisioned. Would it be a better film? Perhaps not, but it will be more intellectually satisfying. To me, at least.
Darth Vader is a creature formed out of pure malevolence and given life through manipulation of the dark side of the Force. Who gives it this twisted life energy? The Emperor. He’s physically small and we get only brief glances of his face. He stays in the background, rarely seen, but rules through terror and fear with his loyal surrogate as his enforcer. (This would need a stronger back story that just someone trying to take over an Imperial Senate, but one thing at a time, please.) Obi-Wan Kenobi and Yoda are hiding in their miserable little holes because they cannot stand against Vader. They tried soon after he was created and both suffered serious damage physically and mentally. Then along come this farmboy who not only revives old memories but demands his right to vengeance for the torture-murder of his mother and the death of his father. Kenobi and Yoda tremble at the idea.
Kenobi sacrifices himself on the Death Star to save Luke, Leia and the others, but it’s not a quiet death. He dies screaming as Vader not only pierces him with his light-saber but tears Kenobi’s mind apart with blasts from the dark Force. Even though the blast door slams shut as in the movie, Vader turns his energy on it and begins burning his way through. Luke screams at Han to get the hell out of there, but Han sort of ignores him until Leia – who can feel the malevolence, too – grabs Han by the neck and says “Get us the fuck out of here now!” He does, but barely.
In the attack on the Death Star, Vader doesn’t need wingmen, he just plows through the rebel fleet (maybe he doesn’t even need a ship). Vader is just about to smash Luke, but hesitates because the Emperor feels the Force around Luke and is puzzled. The hesitation is just long enough for Han to do his just-in-time schtick. (And it takes much more effort to destroy the Death Star because in my universe, the architects aren’t dolts.)
Yoda is reluctant to train Luke not because the boy is clumsy and ADD, but because he is too powerful. “Too much like his father, he is. From this will come disaster.” Luke does falls into the trap Vader has set. Vader toys with him while the Emperor confirms what he’s been suspecting. Luke is is barely clinging to life when the visage of the Emperor appears ‘twixt Luke and Vader. “You do not have to die, Luke,” the Emperor says. “Come with me. I can heal you, I can give you power undreamed of. You have it in you already, for I am your father.”
Cue denial scream, fall through the vent tunnels, rescue by
Han Han’s friend who betrayed him to Vader Leia, Chewbacca and the ‘droids.
In the final confrontation in the second Death Star, Vader again blasts Luke all over the place. The Emperor says all he has to do is acknowledge him as his father and the pain will stop. Luke refuses, but on the point of death, lets slips a thought about his his relationship to Leia.
“A sister!” the Emperor growls as lightning flashes around him. “I was deceived! Twins! Well, shall we have a reunion?”
The Emperor learns through Luke where Leia is. (And no, she’s not fighting alongside teddy bears to destroy the shield generator for Death Star 2.0. My smart architects and engineers know the best place for a shield generator is inside the shield it generates.) He dispatches Vader on a shuttle and after a brief skirmish captures Leia but brings Han as a bonus. Both are dumped before the Emperor. Han is chained to something and rages helplessly as the Emperor tortures Leia. “I offer you both power! I offer you life! I offer you a universe beyond your wildest imaginings! Acknowledge me or die horribly like your mother did. Oh, she lasted a long time, but there wasn’t much left when I got through. Leia? No? Luke? No? Then die, die, I made Vader, he’s my future, I don’t need either of you!!”
Leia’s screams ignite something in Luke. For an instant, his eyes reflect the look of the dark side, the eyes of the Emperor. The Emperor gloats for that second, but Luke reaches down inside to the lessons of Kenobi and Yoda, to the farm where his aunt and uncle were mercilessly slaughtered, into his soul that’s on the brink of being destroyed. He roars, breaks off the mental energy that had bound him. In a savage fight, he destroys Vader, tears him apart the way Vader did Kenobi. The Emperor is the one screaming now, and with Vader gone, he is diminished. Luke doesn’t hesitate, he grabs the Emperor and hurls him down the reactor shaft where he’s destroyed with the sound of a moth hitting a bug zapper. Luke’s body shakes as he wrestles with himself over which side ultimately will win. He dashes over to Leia, cradles her in his arms, finds she’s still alive, whereupon he relaxes, knowing the bright, good thing did survive and there’s hope for him, too. He can’t help himself: he weeps.
Now that’s a hero.
Nominations for the Hugo Awards — the best SF and Fantasy stories of the year as voted by fans — include three from New Mexico who also happen to be acquaintances.
James S.A. Corey is really two people and those two people — Daniel Abraham and Ty Franck — wrote Leviathan Wakes, a corker of a novel set in the solar system where Mars and Earth are ready to have at it. Enter an alien protomolecule and things really get interesting. Available from Orbit as print or e-book. And if you are a qualified Hugo voter, vote for it.
The other acquaintance is George R.R. Martin, whose book Dance of Dragons also is nominated. I can’t say much that hasn’t been said about Martin, the book, the series, the HBO series, so unless you just arrived from Mars, I’ll just say if you haven’t started reading/watching, now’s a good time. And if you’re a qualified Hugo voter — oops, wait, I’m about to ask you to vote one against the other. Ah, well, you’ll just have to vote for your preference.
It’s not my fault these guys got on the same ballot.