Fear and the Sublime.
I had 2 extremely strong emotional reactions to art today, and I’ve been listening to a podcast on philosophy, hence my title. I’m sure I’m stretching if not abusing the meaning of sublime in one way or another, but I’m currently trying to overcome my intense dislike of using incomplete knowledge. It’s not like I’m writing a research paper.
The first reaction I had today regarded the teaser for The Force Awakens. It was very pretty and used fancy (for Star Wars) camera work, and seemed to be the “modern” Star Wars movie that we thought we were getting years ago with the first trailers for the prequel trilogy - a series that turned out to be the very opposite of modern film making and… taste. The one thing I didn’t like about the new trailer was the beach ball droid. It was silly, unconvincing, spoke of nothing, and was a painful reminder of George Lucas’s 3-part treatise on proving that special effects can, in fact, chew scenery. The cross-guard lightsaber was neither here nor there*, and I’ll wait to see what’s going to be done with it. On the whole, the teaser looked interesting and even a bit exciting, if I think about it objectively.
But ignoring objectivity, and I wish I were exaggerating when I say this, but I was afraid. I shuddered when the teaser started, surprising myself, and I sorted out my feelings by the time it had ended and my brother was telling me that the Falcon now had a rectangular dish.
This film series is Star Wars’s last chance with me. I believe I’ve written before about how those movies were burned into my childhood brain. Let me expand that by saying that the video games were my own personal Renaissance art collection, and the expanded universe held a place in my heart right next to the Star Trek Chronology books. Watching the prequels was a betrayal of life’s meaning to a degree that I can only compare to one day when I was about 25 years old and caught my dad smoking after a lifetime of hearing him rant about how much smoking and smokers disgust him, often doing so in public within earshot of smokers as they smoked. If these movies, of a franchise that’s easier to expand upon than almost any sci-fi or fantasy property ever, still suck - nay - if they are ANYTHING LESS THAN THE PINNACLE OF MOVIEMAKING ART AND CRAFT that will make me feel that humanity is worthy of continued existence if only because of these movies, then I will, I will…
I recently heard that every failed relationship makes us trust less. The prequels, abominable as they were, left some of my hope alive in that I knew that they had been caused by a perfect storm of Goitre Lucas and the Yes Men League and it being just a few years too early for this kind of effects-driven (based?) film, and I felt, irrationally or otherwise, that Star Wars, the Platonic form of Star Wars which Lucas had somehow divined and shared with us decades ago, would continue to exist (or be. haHA!).
But if this series fails despite having a beloved director who has his own radio tuned to the gods of pop culture being, an entire industry that is a veteran and lover of effect-driven spectacle, and the hindsight of over a decade, then it simply means that Star Wars movies… just aren’t good anymore, if they ever were. They are not appropriate for our time, and perhaps only appealed to simpler sensibilities of a bygone era. A product of their age and nothing more, continuing to exist because of nostalgia, antiquarianism, merchandising and herd mentality.
Not that I would believe any of these things. But if Abrams fucks this up, I will feel them. And so whatever else I try to convince myself of, my childhood will - as Luke once believed his father to be - truly be dead.
*aside from a million other more obvious concerns I could state regarding the crossguard, I’ll remind you that when sabers clash, they’re practically magnetically attached. It’s not like blades ever slide down each other.
For the sublime, and despite my opening caveat, I am sure of my usage here, please read Ashita no Joe up to when Yabuki Joe finally meets Rikishi Toru in the professional ring (I think its volume 8). Before this part of the story, I had already been surprised and amazed time and again, particularly because of the atypical (for a sports manga) protagonists and antagonists who somehow fit the criteria for stock characters of boys manga and yet are also real and multifaceted, the bold and mature plot developments, and the fact that all this is happening in a manga almost half a century old.
But this fight with Rikishi, and the way I felt it change the whole direction of the series, made me realize that I wasn’t reading something that was merely innovative, or a memorable relic. Ashita no Joe is a masterpiece. It is timeless. And if I never read such an engaging sports manga again, I will forgive all the mangaka who fail to reach these heights, and I will sympathize.