Tag Archives: Ashley Bell

Guarding the Guardians

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“Oh, you’ll protect them. But who will protect you?!

Pitch Black says this to the Guardians near the end of Dreamworks’ film Rise of the Guardians. I wrote an article about the movie some time ago, but these words were not the focus of it. That post had a totally different message from the one I wish to discuss today.

Rise of the Guardians focuses on the Guardians of childhood: Santa Claus (North), Tooth Fairy (Tooth), the Easter Bunny (Bunny), Sandman (Sandy), and their new addition – Jack Frost. In the scene portrayed above, Jack has convinced a handful of children that the Guardians do in fact exist. This has helped North, Bunny, and Tooth to regain a certain amount of strength, since they lost much of their power when Pitch Black (the infamous Boogeyman) persuaded children around the world that the Guardians were not real.

The belief of a few children cannot restore the Guardians to their former capacities, though. They are now too weak to fight as they must to save the children. They intend to battle Pitch anyway, but the situation looks grim for the home team.

It is at this point when Jamie, the one boy who never stopped believing in the Guardians, promises that he will protect them from the Boogeyman (Pitch Black). Jamie’s friends, inspired by his courage, shakily join forces with the Guardians as well. As the Guardians and children face the onslaught of evil, they manage to turn Pitch’s certain victory into utter defeat.

Why is this so important? Why do I make such an issue of it? How many times, readers, have you heard the “elite” and the “learned” talk down the importance of stories, of heroes and villains? If I had a dollar for every snobby crack I heard someone make about good stories and great characters, myself included, I would be one of the richest people in the U.S. (Hey, I have not always liked certain stories, readers – I am human, not perfect!)

Fictional heroes are the equivalent of the Guardians in Rise of the Guardians. They not only “guard” the imaginations and (hopefully) the innocence of childhood, they guard the imaginations of adults as well.

Heroes are, by design, examples of virtue which we are meant to follow. They show us how attractive and healthy virtues such as courage, faith, hope, love, and honor are. They inspire us to dream, to choose the right path, and not in a didactic way but in a way that touches our hearts.

Stories are vehicles for truth. This is not simply factual truths, such as how to ride a horse or to hunt for medicinal herbs in a forest. These facts can be and often are woven into fictional stories, of course, and they are certainly helpful. But most of the truths we find within stories are philosophical and, at bottom, spiritual.

Yet many of us habitually skate on top of a story. Instead of looking through the ice to see what is below, we see what we wish to see reflected back at us. And so we tend to ignore what is truly below the surface of the tale we are reading/hearing/viewing.

This brings me to Jamie’s declaration that, since the Guardians are going to protect him and the other children, he will in turn protect the Guardians he loves. While recognizing their desire and natural right to protect him and the others, he also realizes he has a duty and right to protect them when they are attacked. Theirs is a tie that is mutually beneficial; the belief and love of children everywhere not only sustains the Guardians, it protects them by giving them the strength they need to do their jobs. It makes the circuit of power complete.

Sadly, the critics panned Rise of the Guardians as they have dismissed many movies before it. On one level, we could see this as a sign that the movie they have critiqued is undesirable. On another, we could see it as a sign that a great many people have suddenly and inexplicably lost their capacity to recognize a good children’s tale when they see one.

If you are thinking this second assesment lacks believability, I concur. That is why I take the third view; at least some of the critics liked this film and admitted it, while the majority of them panned it in order to serve their agendas. What agenda might this be?

Here we come full circle again. Remember when I said that fictional heroes were meant to be the Guardians of the Imaginations of children and adults? Well, if you want to destroy those perceptions, you have to go through the Guardians. The “critics” who regularly pan good movies like Rise of the Guardians seem bent on destroying those positive images. In order to do that, they have to tear down the heroes not only in this story, but in everyday life as well, so that everyone will be as miserable as they are.

This is why we must guard the Guardians. As Dean Koontz points out in his novel Ashley Bell, fiction “can deal with the numinous,” something that “nonfiction rarely does.” Fiction deals with “[T]he human heart and spirit. The unknown. The unknowable. Storytelling can heal damaged hearts and damaged minds.” Most poignantly, he also points out that writers can be “doctor(s) of the soul.”

Of course, as Marvel and other companies’ public dereliction of duty shows, not all writers want to be doctors of souls. Mr. Koontz’s stories are filled with human monsters who perpetrate evil on their fellows, and none are worse than those who use a pen instead of a scalpel. This is what the critics who wish to destroy imagination, wonder, truth, goodness, and beauty hate about stories.

If these critics who have chosen darkness cannot be happy, then they wish no one else to be happy. Therefore whatever gives everyone else pleasure – whatever reminds them of the truth, goodness, and beauty to be found in this world and beyond – must be destroyed. This includes good stories with great Guardians of the soul.

As long as we have heroes to inspire us, we will be better able to resist the carping critics’ myriad assaults. Take away the Guardians of Storyland – whether they are Captain Kirk, Odysseus, Robin Hood, or Captain America – and we lose one of our best defenses against those who would destroy our understanding of the good, the true, and the beautiful.

Some may think this harsh and cruel. While I certainly do not want to paint all critics of creative media with the same brush, I must point out that it is the fashion now for the “intellectuals” to praise trash and sniff at true art. This is not to criticize all critics. We are weak, fallen creatures, yours truly included. None of us are perfect. The fact remains, however, that there are those who want to destroy our innate love of goodness, truth, and beauty – and they usually like to use a pen or a keyboard when they go to work.

They attempt to tear down the heroes – portraying them as “villains in disguise,” if you will – with words. We have seen far too much of this these days, especially in comic book universes, where former heroic champions are being turned into masters of despair and darkness. (Yes, I am looking at you, Marvel!)

If this is what is going on, then how are we to stop it? We stop it by the simple expedient of saying, “I will protect the Guardians.” We need not use force to do this; permanent determination and a refusal to abide by or accept the proffered precepts of today’s real life Wormtogues is a very effective tactic. When they try to take our heroes from us, we must be like a bulldog holding tight to a beloved toy. We have to clamp down and not let go because these servants of Saruman will lose. As long as we hold tight, we will win.

Who, therefore, will defend these fictional defenders? Who will preserve the characters who are “there when we need them to be,” as Walt Disney said in Saving Mr. Banks? Who will see to it that the Guardians do not face Pitch Black alone? Who will say, “I will protect the protectors”?

That is up to you, readers. The Guardians’ purpose is to guard us, not to protect themselves. For, as I said previously, they get their power from us. Without our affection for and belief in the heroes of Neverland, they are but mirrors of us, pale reflections of reality. They have substance only when loved by us.

For those who think this is stuff and fluff, remember that a painting is a pale reflection of reality. Yet Dolly Madison risked her life to save the paintings in the White House, along with the Constitution and the Bill of Rights, before the British burned it to the ground during the War of 1812. If fiction means nothing, why then did the Christian monks of the Dark and Middle Ages preserve the fiction of the Ancients and write the Legends of King Arthur?

During World War II the Nazis stole plenty of art from the countries they invaded, and destroyed art created by those they hated – Jews, Catholics, Gypsies, etc. Under the Communists, the arts were degraded and used to promote the state, while real art that had survived for centuries was used to build troughs for farm animals. If art, though nothing more than a reflection of life, is meaningless, why have so many throughout history worked so hard to preserve it – or to destroy every trace of it?

The obvious answer is that art is not meaningless. It is not the be-all, end-all. But when it reflects the true, the good, and the beautiful, it is worth preserving. It is worth creating….

It is worth Guarding.

Marvel-ous – and Not So Marvelous – Fathers

Not long after it came out, a friend of mine began watching the new Marvel’s Spider-Man television series. I have only watched it under duress, since I find the animation poor and am unhappy with some of the changes to Spider-Man lore within the series. Not to mention the fact that I am a little tired of Marvel beating dead horses to pieces and splattering me with their blood, proclaiming all the while that I should be happy to receive this disgusting shower.

Thank you very much, Marvel, but even vampires do not go this far (from what I know of them, anyway). But my friend insists on cornering me and making me watch it, making me less than eager to discuss the series with said compadre after an episode has aired.

Following the episode introducing – and then killing – Flint Marko/Sandman so he could be replaced by his daughter, my friend had an interesting observation about the show. Mi amigo pointed out that Flint never went after his daughter during the episode’s climactic battle. This friend went on to add that it was interesting when Sandman’s daughter killed him, Flint’s last words were: “I love you.”

“It’s a little like Han Solo and Kylo Ren in The Force Awakens,” my friend said. “Flint won the argument, just like Han did, and their children are worse off than they were before.” Then, in typical fashion for my friend, it was suggested that I write a post about how Flint is/was a better father than Norman Osborn.

When it comes to this friend of mine, I have a hard time saying “no” to any request made of me. I promised to think about the episode, though I added the caveat that my brain had zero suggestions for how to bring up the topic here on Thoughts on the Edge of Forever any time soon. But then something somehow removed this block from my mind and the ideas came rushing in.

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The episode of Marvel’s Spider-Man in question is titled “Sandman.” In this episode, Spidey is relaxing with his fellow science whizz friends at Coney Island. At least, he is relaxing; the rest are still working on their school project (hint, it makes a nifty, living black suit). While they are out a sudden sandstorm erupts and the Arabian Desert, complete with a seeming genie, blasts through the park.

This is Spidey’s first run-in with the Sandman, a.k.a. Flint Marko, in the series. Here, Flint is a lackey for the mobster villain known as Hammerhead. He began working for him in order to provide a better future for his daughter, Keemia. But Flint made too many mistakes on the job, so Hammerhead tried to make an example of him by burying him under several tons of sand mixed with toxic chemicals.

Of course, this did not kill Flint. It turned him into a living being made of sand. He intends to go after Hammerhead to rescue his daughter, whom the thug has somehow taken into his home. Spidey, touched by Sandman’s devotion to protecting his little girl, joins Flint in storming the castle to rescue the fair damsel.

But Keemia does not want to be rescued. Like any normal girl, she followed Flint into the warehouse when being left in the car creeped her out. So when Hammerhead tried to kill him, she was exposed to the same toxic sand that her father swallowed. Unlike normal girls, she detests and blames her father for her own natural instinct to avoid being alone. She goes on to repeatedly state that she hated the work he did for Hammerhead and planned to better her own future by studying science. Now that she is made of sand, which has replaced her right eye, she accuses Flint of being the source of her misfortune and lashes out at him.

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Keemia Marko (Sandgirl)

Not once during the battle which follows does Flint respond to Keemia’s attacks. He tries several times to hurt Hammerhead, but Keemia protects the mobster as she continues to assail the man who really wants to keep her safe. Like Han in The Force Awakens, Flint allows Keemia to (apparently) kill him, offering her no resistance whatsoever. Spidey, naturally, is very upset by this, though I do not think anyone is going to take the time to explain why. I hope to do so myself, but I have a few other things I want to expound upon here as well, and that may get lost in the shuffle.

The first thing to address here is that this is quite clearly another case of political correctness run amok in Marvel. Sandman was always a sympathetic villain; Spidey and other Marvel heroes tried several times to bring him to the light. He was even an Avenger there for a little while. Marko never was a very strong personality, which is what made us fans feel some measure of compassion for him.

As with Kylo Ren, there is nothing to make us feel kindly disposed toward Keemia Marko. Blinded by the modern Sturm und Drang, she lays all her troubles on her father. In doing so she does not see Hammerhead manipulating her to hurt Flint, but seals her fate as the mobster’s secret weapon by killing her dad.

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Harry and Norman Osborn

How, you ask, does this make Flint a better father in this scene than Norman Osborn has ever been, period? In this series Norman is focused on being top dog in the scientific Tech Pack on Earth. Norman treats Harry more like a tool here than a son. Marvel’s Spider-Man portrays him as a greedy, grasping rich man who sees his boy as a means to an end – nothing more, nothing less.

Marko never used his daughter to make life easier for himself, and he probably could have. While I do not like her and consider her a nuisance best dumped at the earliest opportunity, the fact is that Marvel has illustrated a truth in Sandman’s first and final episode here which must be addressed.

The entire reason Flint went to work for Hammerhead was to provide for Keemia. He did not like working for a mobster any better than she did, but because he was a single father trying to make ends meet, he did the best he could with what he could get. It was not what he wanted for either of them, but he did not have the capacity to search for a job that would give them more satisfaction.

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Keemia, a product of the modern school system and the popular mindset, did not see what a sacrifice her father was making for her. He compromised his sacred honor and his own hope to be a good man in order to protect, feed, and clothe her. If he could have found another way to support them, he would have. A stronger man might have managed that, or at least managed to convey his distaste for his illegal work to Keemia. Flint could do neither of these things and that is, perhaps, one of the reasons why his daughter blamed him for her condition.

It is also important to mention that Flint is a single father here. This means he had to work a lot to make ends meet, so he was not as present in Keemia’s life as he would have been if her mother were alive and present in the home. (I do not know what happened to Sandman’s wife/girlfriend.)

Now Sandman’s lack of presence in his daughter’s life is not his fault – not in this TV series, anyway. The case in the show is blatantly transparent: Flint could not support the two of them and be with his daughter a hundred percent of the time. This is all too true of many families where only the father or mother is alive or caring for the children. These single fathers and mothers cannot feed, clothe, and shelter their children and still have enough time leftover to play, help with homework, or discuss problems in most cases.

This is why Flint did not see the extent to which Keemia was taught to despise him. She was taught this by our modern society, which either treats fatherhood like a joke or holds it in reproach (more on that below). Her disgust with Flint’s line of work is quite understandable, but it was used and manipulated, first by society and then by Hammerhead. Neither society nor Hammerhead explained that Flint was sacrificing a lot to take care of her by doing the only work he could find, and this left Keemia open to the Dark Side.

Flint did not see any of this until it was too late to do something about it. But that did not make him love his daughter any less. Spidey, I think, sensed how much Flint had sacrificed on behalf of his daughter by working for Hammerhead. The fact that Sandman showed such devotion to her, to the bitter end, affected him deeply because Keemia threw away what he lost years ago. Although Peter Parker loves his aunt and uncle, they were not his parents and they never could be. He did not know his father, but seeing Flint’s love for his daughter probably made him yearn for what could have been if his own had not been lost. (Ha! I got his reasons for being upset at Flint’s “demise” in here after all!)

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Norman, as we have seen, does not care to this degree about Harry. He has Harry make all sorts of sacrifices to please him. As yet we have not seen the future Green Goblin going out of his way to do something nice for his son. Even his founding of Osborn Academy is questionable: is it truly for Harry’s good, or is it so Norman has access to some of the brightest intellects in New York City – legal and illegal?

Thinking about this subject, I was put in mind of other Marvel characters who have less-than-stellar fathers. One of the reasons society these days makes a mockery of or abuses fatherhood is the mistaken opinion of many that bad fathers make bad people. This is a fallacy, insofar as it is portrayed as a widespread occurrence; it can certainly happen, but I very much doubt it transpires with the frequency portrayed in film, television, and books. Not all bad people become bad because of evil fathers – or evil mothers. All who become evil choose to be evil.

One can easily prove this by comparing Keemia Marko’s story to the history of the Avenger Hawkeye/Clint Barton. Hawkeye had a physically abusive father; Mr. Barton Senior liked his liquor, not to mention beating both his sons and his wife. When his sons were still young he died a drunkard’s death after he crashed his car. In the process he killed his wife and left the boys orphans.

Yet, if you look at Hawkeye now, you would have to be told all this about his past to know that it had happened – especially in the films. He was scarred by the experiences of his childhood, to be sure; Clint has never been able to fully trust those in influential or command positions. This is because the man who should have taught him to respect authority instead gave him every reason to distrust it.

However, Clint did not follow the Dark Path to the point that it could dominate his destiny. Yes, in the original comics, he worked with the Black Widow when she was a pawn of the Soviets. But he did not do this because he agreed with the Communists or because he liked being a bad guy. He did it out of misguided sentiment and love for Natasha Romanoff. This eventually redeemed the two of them and led to their joining the Avengers, “Earth’s Mightiest Heroes,” and we fans/readers/viewers are the better for this.

Unlike modern writers, Stan Lee and Don Heck knew that it is possible to choose a better path than the one your parents did. So they showed Clint Barton choosing to turn away from the darkness and toward the light. Time and again, until the most recent comics, Clint did his best to avoid following in the footsteps of the men who raised him. He chose to be a better man than his father. He also chose to be a better man than his mentors, the Swordsman and the original Trick Shot. He chose to be a hero rather than a villain.

If you dig a little into the histories of many Marvel heroes and heroines, you will find several others with similar pasts. Both Rogue and Nightcrawler were rejected by their fathers and continue to be abused by their mother. The Maximoff twins are still dealing with the aftermath of having Magneto as a dad. Peter Quill had a lackluster father, as did Gamora. Yet they and other Marvel characters with similar backgrounds still became heroes and heroines rather than villains.

This is something modern pop psychology says is a denial of the inner self; a rejection of the monster inside, to borrow from Mr. Whedon. Yet Mr. Lee and Mr. Heck made this choice for Hawkeye and the other heroes I listed above. And you know something? It worked.

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Unlike these heroes, Keemia has chosen the Dark Side. And she has done so without using the “father abused me and that’s why I am what I am” excuse. In some cases, real and fictional, I do not doubt that ill-treatment can convince a child to turn into a monster of the same type as the one heaping pain on him/her. But that, as I just said, is an excuse. Being evil or being good is a choice. One choice takes a lot more work than the other, and believe me, it is not evil.

Keemia has no excuse for her choice to become evil. She has no excuse for killing her own father. She cannot hide behind the pop psychology argument that her father was terrible and so she is terrible, which is what I think the writers were trying to have her say. I think they wanted us to sympathize with her, suggesting that she turned into the monster “Sand-Girl” because of her father through her long, moronic speeches charging him with high crimes and misdemeanors against her.

That claim does not float. There are many Marvel heroes and heroines who endured far worse from their fathers and mothers than Keemia ever did at the hands of Sandman. They are not evil. She is. And it is because of the choices she made, NOT because of her father’s (or mother’s) choices.

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Barons Heinrich and Helmut Zemo (Avengers Assemble)

This is the reason why I did not like the writers’ attempt to pin Helmut Zemo’s decision to be evil on his father in the Avengers Assemble episode “House of Zemo.” This is why I do not like what the company’s writers have done to Tony Stark’s father. And this is why I blew up when I learned what Marvel did in its Secret Empire comics to Cap’s father in order to make him a Nazi.

These changes are the signature attacks of people who despise fatherhood and want to destroy it; either the authors or their bosses want to continue this harmful stereotype in order to continue to excuse “the evil that men do.” They are trying to convince fathers to rescind their proper place as role models in society, role models who will teach and love their children like no one else in the world can or should, which means the children born to these fathers will be left without one of their best defenses against the darkness in this world.

This modern fictional trope hurts real people, readers. It hurts those who do – or did – have lousy fathers and who want a better life. If they are continually told that they have no chance whatsoever to be a better man/woman than their fathers or mothers, they will destroy themselves. I do not mean they will kill themselves, although that is a distinct possibilty. I mean they will make wrong choices using the excuse, “My daddy/mommy did this to me, and so psychologically I have no choice but to carry on this abuse.” Ask Dean Koontz about it. He had an abusive father himself.

Evil is a choice, readers. It is a real, palpable choice with genuine, hard, ugly results, for us and those around us. We are all confronted with it, every day, in small or great ways. And because we are weak humans we can excuse or rationalize away the evil that we do because it will make us feel better about “getting what we want” out of life, family, etc.

Bad or evil fathers do not make bad men and women. Men and women make choices to be bad or to be good. If they choose evil, then they choose it of their own free will. They will make excuses to allow them to continue doing their evil deeds with untroubled consciences, but the fact is that they have chosen the Dark Path freely.

Pop psychology does not recognize those heroes who had bad parents and yet have gone on to become good men and women. It does not recognize them because they do not fit the pattern which produces the desired result. There are many good men and women who had or have bad fathers/mothers, but who have gone on to become great fathers/mothers themselves because they chose to be better than those who raised them.

This is the real difference between heroes and villains, readers. Heroes choose the Light, while villains choose the Dark. Modern society wants you to be confused about this distinction, but the fact is that there is an objective good, and an objective evil. You just have to keep your eyes open to see it.

Avengers Assemble!

My Favorite Lightsaber Duels in Star Wars Rebels – and the Scenes in Them Which Stood Out Most

Yes, I know this is a terrible title for a post. It was the best that I could come up with, however, so we are all stuck with it.

At the end of my post “Tribute to the Jedi,” I listed three of my favorite lightsaber duels in Star Wars Rebels. Discussing these battles with a friend some time ago, I recalled one I had forgotten, which will be mentioned below. During our chat I admitted something which still stands out to me in each of these encounters between the Jedi and the Dark Siders. As we go through them, I will make certain to mention what this recurring theme is.

Before we do that, though, I have something to admit: I do not like the new Star Wars timeline, especially the books. It does not jive with the original films, preaching rather than telling a story. Having read several novels in the original Star Wars Expanded Universe, along with a number of books in the new timeline, I find that the older ones (usually) fit better with the original trilogy than the new ones do.

The reason I bring this up here is because this series, to me, has always felt like it is part of the original Expanded Universe rather than the new timeline. Rebels and its tie-in media is, for me, the best thing to come out of the new Star Wars universe – which is why you are reading this post today. And so, without further ado, we turn to the battle which is still my top favorite:

Kanan Jarrus versus the Grand Inquisitor in “Fire Across the Galaxy”

I have said that the era of the original trilogy – the time of the Rebellion, for want of a better layman’s term – is my favorite in the Star Wars universe. My enjoyment of this period of the story explains why I gave Rebels a chance. I love learning about Jedi who lived through the Purge, especially if they played a part later on in Luke Skywalker’s New Jedi Order. Perhaps it was their surviving adversity for twenty years, or maybe it was just watching the transition to the Rebellion era. I don’t know how to explain it, or if I can, but anything that involves Jedi from the Old Order surviving to see the rise of the New just thrills and intrigues me.

So I wanted to know more about Kanan Jarrus before the series even began. I got excruciatingly little there for the first few episodes, which drove me half crazy and made every Jedi-centered episode a treasure. More than once I would leave the television feeling disappointed with an episode because it had not delivered the desired Jedi-fix.

“Fire Across the Galaxy” satisfied my wish for more Jedi stories with the amazing lightsaber duel at its climax. It is a spectacular fight that begins with Ezra helping Kanan – who has been undergoing Imperial “interrogation” – escape Grand Moff Tarkin’s Star Destroyer. For some reason I still do not understand, they decided to cut through the engine room to get to a fighter bay and freedom.

Naturally, the Grand Inquisitor is waiting for them there. Despite not being in top shape, Kanan takes his apprentice’s nifty lightsaber and goes after the Inquisitor. The battle becomes two-on-one when Ezra retrieves his Master’s blade from the Pau’aun’s belt and activates it.

But at this point, Ezra’s still not good enough at blade work to defend against the attacks of the more experienced Dark Sider. He tries Kanan’s baseball bat trick to deflect the Inquisitor’s thrown blade – and it works, in so far as the boy does not get cut in half. However, the spinning hilt does scratch his face, and it has enough momentum behind it that Ezra loses his balance and falls to another catwalk.

This is what Kanan has been afraid of from episode one of the season; that he will fail and Ezra will be killed. He already holds himself responsible, to some degree, for his own Master’s death; losing Ezra would be like going through that pain all over again. Only this time it would be worse because Kanan is not a kid. He is an adult who should be able to protect his apprentice as well as train him.

Sent sprawling by a Force push from the Inquisitor, not to mention still dealing with the aftereffects of the Empire’s torture, Kanan is not able to get up in time to prevent Ezra from tumbling to his apparent death. He ends up on his knees, looking down at the boy, whom he doesn’t realize is just unconscious.

What got me about the scene wasn’t simply the grief we see on Kanan’s face when he thinks Ezra is dead. That was to be expected. No, it is how his expression changes after this. Before he stands up, the grief and anger leaves Kanan’s face, to be replaced by calm acceptance.

This is important because, in this moment, Kanan stops fighting the Force and lets it come to him. He is still sad, he still believes Ezra is dead, and he is none too happy with the Grand Inquisitor. You can hear all those emotions in his voice when he addresses the Dark Sider in the next frame.

However, he doesn’t give in to these feelings or let them rule him. He just lets them go, allowing the Force to enter in their place. And so the Pau’aun does not realize he has just made, as his opponent says, a huge mistake. He thinks our resident Jedi is broken, an easy kill. But Kanan comes back with the response I really love, saying that now he has “nothing left to fear!

The rest of their duel is a beautiful thing to watch, but this particular part is my favorite scene. As we see later on, Ezra is right to say that Kanan is “better than okay.” Here he is, actually, better than okay.

Allow me to explain. Kanan’s entire struggle up to this point has been with his fear of discovery. He has also been afraid to accept his Jedi heritage and to return to the Jedi path. The only times he is really able to pull off feats of strength using the Force is when something frightens him more than this.

We see it in “Rise of the Old Masters,” when he throws the Inquisitor into the ceiling to save Ezra, and earlier in the same episode when he reaches out with the Force to keep the boy from falling to his death during a lesson. Each time, Kanan has to strain to use the Force. This is both because he is out of practice and because he has two fears vying for his attention at the same time: fear of failing Ezra and fear of being discovered.

But in this duel, he finally lets the fear go. And that allows the Force to enter him at last, making him a willing vessel for its designs. This is why he does an apparently inexplicable one-eighty degree turn in his skill level during the duel. While he still needs to practice his sword work the fact is that, here, Kanan is no longer alone. He is finally – finally – letting the Force guide him and act through him.

This makes up for his lack of training and experience, giving him the edge over the Grand Inquisitor. It is why he bests him. Kanan’s no longer fighting with his own skill and power here. He is in the same position as Chirrut Îmwe; he is one with the Force, as it is with him. And the thing which still gets me is that he is kneeling down when he lets the Force in. This is not a big deal, right? He got knocked over, so of course he would be on his knees when he lets go of his fear to allow the Force to enter him –

Whoa, not so fast there, Speed Reader! Let’s take a look at my second favorite battle on this list….

Ahsoka Tano versus Fifth Brother and Seventh Sister on Garel in “Future of the Force”

I have never seen more than a few clips of The Clone Wars. The poor direction of the prequel movies left such a bad taste in my brain that I could not stand the cartoons. And yeah, I was naïve enough at the time to think the series did not tie into the larger Star Wars universe.

Well, I eventually found out that Clone Wars WAS part of the Star Wars timeline even before the new trilogy arrived. This meant, naturally, that I needed to learn more about it. As I was digging through the archives about the series I stumbled on Ahsoka Tano’s file.

Everything I read about her made her sound interesting, to the point that when I pictured her being killed by Anakin Skywalker in Revenge of the Sith, I wished she didn’t have to die. I had not even seen her yet, readers, but I already thought she was a great character! So I was relieved to learn she left the Jedi Order before the Purge. That at least put off a confrontation between her and Vader, hopefully permanently. I really wanted her to survive to meet Luke after Return of the Jedi so we could watch her connect with her master’s son.

Learning that this amazing character would be reappearing in Rebels was very exciting. I would finally get to meet the famous Ahsoka Tano and see if she was everything I expected her to be. Her fans will not be surprised when I say she did not disappoint; I still do not like The Clone Wars, but I am definitely a fan of Ahsoka Tano….

…So I was rather irritated when she did not get to use her lightsabers immediately upon her appearance in season two of the show. We had to wait until “The Future of the Force” to see her draw her new white blades, let alone use them.

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But it was worth the wait. Watching Ahsoka hand Fifth Brother and Seventh Sister their fannies on a platter was amazing. She eventually managed to throw Fifth Brother into a column, briefly sending him to dreamland, before focusing entirely on Seventh Sister.

I will never forget what she did next because it was so unexpected. Instead of pressing her advantage with the remaining Inquisitor, Ahsoka shut down her blades. Then she put them away, knelt down on the ground, and held her open hands up to the air. Of course, Seventh Sister thought Ahsoka was an easy target. But without even opening her eyes, Ahsoka caught the other woman’s lightsaber hilt between her hands and, using the Force, shut the blade down before tossing it aside.

Notice we once again have a Light Side Force wielder kneel down before defeating her opponent. Coincidence? Maybe, but I don’t think so. Let’s press on to battle number three, the confrontation I forgot to mention until I was discussing these duels with my friend…

Kanan Jarrus versus the Sentinel Spirit in “Shroud of Darkness”

“Shroud of Darkness” was such a powerful episode that I did a post about it almost two days after it aired. Most of that article revolves around the shocker of who the Sentinel Jedi was, along with theories about how he got to the Lothal temple and the Light Side. As lightsaber duels go, this one didn’t really stick in my mind the way the previous two did.

Except for one scene, that is.

This scene comes when Kanan has been knocked down by the Sentinel Jedi. Two others have come to back the lead Sentinel up, and the Lothal temple has begun to collapse as Fifth Brother and Seventh Sister force their way inside. Kanan is once again on his knees. But here he is also surrounded and running out of time.

Having declared Ezra too dangerous to be allowed to live, the vision Jedi states that Kanan cannot protect his apprentice from the lure of the Dark Side or the Sentinels. “You’re right,” he replies. “I can’t protect Ezra, least of all from himself. All I can do is what I have done – train him as best I could.”

Since I knew this was a vision, I knew that Kanan could not truly be hurt here. So when the Sentinel raised his lightsaber, I was pretty sure Kanan was not going to die. I didn’t know he would be knighted, but I knew he would not be killed.

Again, though, in this scene Kanan is on his knees. He has been forced there by the fight, and because of time constraints, he does not try to stand up. He stays kneeling, fully expecting to be struck down. What is the significance of this? Why, other than the fact that he is officially knighted in the next moment, is Kanan again on his knees here?

Let’s look at the last battle on my list to find the answer to that question.

Kanan Jarrus versus Maul in “Twilight of the Apprentice, Part 2”

If there is one character in the Star Wars universe I despise completely, I would have to say it was Maul. Ever since I saw him in The Phantom Menace, I have hated him. Why Lucas made him and his species is beyond me.

For some reason, I thought we were done with this Zabrak even before the new timeline was announced. No such luck; Maul returned to plague us again in “Twilight of the Apprentice,” managing to hook Ezra with the lure of the Dark Side in the process. For a while he played he was on our guys’ side, but we all knew that he was tagging along for the ride. He wanted something, and he needed Ezra to get it. So while it was not a surprise when he attacked Kanan, I was not expecting him to blind my favorite Rebel Jedi.

Ahsoka went up about twenty more bars in my estimation for jumping in automatically to protect him, but it was still nerve-wracking to watch Kanan, on his knees once more, searching for his lightsaber. Seeing him best Maul in three short moves – perhaps a nod to the former Sith Lord’s later defeat by Kenobi – did not exactly ease my fears, but it certainly proved Kanan could still fight (and how!).

The main point, however, is – you guessed it – the fact that Kanan landed up on his knees again. By now you are furious at me for taking so long to get to this point. “Just what is it about Kanan and Ahsoka kneeling down or ending up on their knees in all these battles that has you so interested, Mithril?” you are snarling at the screen.

Well, we all know that Lucas borrowed elements of Christianity for his fantastic galaxy far, far away. When watching the Star Wars films or reading the books, the Christian aspects of the stories have always stood out to me – especially in Zahn’s novels about Star Wars (this is another reason why he is my preferred writer in the original EU).

So when I saw Ahsoka, in the middle of her duel with Seventh Sister, inexplicably put aside her blades to kneel down and raise her hands, I was immediately put in mind of the act of praying. The same impression hit me when I saw Kanan on his knees in “Shroud of Darkness.” I thought of it again, to a lesser degree, in his search for his lightsaber after Maul blinded him in “Twilight of the Apprentice, Part 2.”

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And I cannot watch him duel the Grand Inquisitor in “Fire Across the Galaxy” without thinking of it. For “perfect love casts out fear,” we are told, and Kanan’s fear has blocked him from the Force up to this point. Just so, our irrational fears block us off from God’s grace. (The same can be said about anger, of course, along with selfishness, pride, and the rest of the seven deadly sins, but that’s another story.)

Thus the small, seemingly inconsequential moments when the Jedi kneel down during these duels has far more meaning than most of us suspect at first viewing. Interpreted through the lens of faith, we can see a heartening message in these “pivot points” where the Light Siders put their faith in the Force to help them win the fight.

Does that mean the writers and Dave Filoni put these moments here on purpose? Perhaps they did. I do not know any of them, so I cannot say. And if they want to keep their jobs, then I do not think they can come out and admit that they even have faith of any kind. It is something of a taboo subject in the circles where they work these days (just look at how Marvel Comics’ roster of writers treats the subject).

In the end, though, it does not matter whether these moments are messages from Christian writers to Christian viewers. What matters is these scenes are present for an astute Christian to see, which is why I bring them up here and now. One of the reasons I started Thoughts on the Edge of Forever is because I believe God talks to us through the fiction we enjoy. Over the years I have come to see His Hand in more than one of my favorite stories.

Sometimes it is easy to know when He is there, as it is in the Chronicles of Narnia. But in other stories – like Tolkien’s Middle-Earth, Star Wars, Star Trek, and a multitude of different fictional universes – He takes us by surprise. This was the case with me when I went to see Marvel’s The Avengers. I had caught glimpses of Him in my research into the comics, but I really saw and heard Him in that movie.

Obviously, this is why I have taken such issue with Marvel Comics’ current course, not to mention attacked other franchises when they “play politics.” As Dean Koontz pointed out in his novel Ashley Bell, good fiction can heal souls. It can do this because, through the veil of the fantastic, God touches our lives and raises our minds to Him. So when authors and/or their employers begin to drag the focus of the story toward “representation for all,” “women’s rights,” “equality for everyone,” or they try to make their fiction “realistic,” they chase God out of their fantastic universes.

And a story without God in it, no matter how artistically done or how much time, effort, and money are lavished on it, fails to become a story at all. Why? Because God made stories, too, readers. He made our very lives, and what are they but stories?

He doesn’t make our choices for us, or push us to do things His way. Rather, as Star Wars Rebels: The Rebellion Begins puts it, He weaves a pattern through the universe. We are free to act in accord with that invisible web, to run away from it, or even to attack it. God doesn’t force us to take any one of these three courses, but it is His right as the Creator of the cosmos to fit them into the pattern He is weaving. Whatever we choose, we are free to choose it, as He is free to undo it or make it better.

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That, at its core, is the basis of Star Wars. Filoni and his crew – along with Zahn and other authors for the “old EU” – understand this very well, at least on an instinctive level. But many of the new authors for the franchise, either because they are blind to the Truth or because they fear the Emperors of this galaxy, are letting this understanding go. This is poisoning their new stories in the process and, while it does not mean the whole new timeline is worthless, it does make it inferior to the original in most cases.

While some will think this is reason for despair, I ask you to remain hopeful, readers. After all, God can turn even great sorrow to joy. He may have some great good planned which will upend the schemes of the Saurons, Sarumans, Gollums, Emperors, Inquisitors, and Mauls tearing apart story land – and Star Wars – today.

In which case, it is best we imitate Kanan and Ahsoka, metaphorically speaking, and open ourselves to listen to what He has to tell us. “For even the very wise cannot see all ends” – and when they try, they stop being wise. It is better, oftentimes, to wait and listen. He’ll tell us when the time is right to act. He always does.

May the Force be with you, readers, always.