Saturday, June 18, 2005
Ward Sutton
June 17, 2005
Turn On, Tune In, Veg Out
By NEAL STEPHENSON
Seattle
IN the spring of 1977, some friends and I made a 40-mile pilgrimage to the biggest and fanciest movie theater in Iowa so we could watch a new science fiction movie called "Star Wars." Expecting long lines, we got there early, and found the place deserted.
As we sat on the sidewalk waiting for the box office to open, others like us drifted in from the towns, farms and colleges of central Iowa and queued up behind. When the curtain in front of the big Cinerama screen finally parted, the fanfare sounded and the famous opening crawl appeared against a backdrop of stars, there were still some empty seats. "Star Wars" wasn't famous yet. The only people who had heard about it were what are now called geeks.
Twenty-eight years later, the vast corpus of "Star Wars" movies, novels, games and merchandise still has much to say about geeks - and also about a society that loves them, hates them and depends upon them.
In the opening sequence of the new Star Wars movie, "Episode III: Revenge of the Sith," two Jedi knights fight their way through an enemy starship to rescue a hostage. Ever since I saw the movie, I have been annoying friends with a trivia question: "Who is the enemy? What organization owns this vessel?"
We ought to know. In 1977, we all knew who owned the Death Star (the Empire) and who owned the Millennium Falcon (Han Solo). But when I ask my question about the new film, everyone reacts in the same way: with a sudden intake of breath and a sideways dart of the eyes, followed by lengthy cogitation. Some confess that they have no idea. Others think out loud for a while, developing and rejecting various theories. Only a few have come up with the right answer.
One hyperverbal friend was able to spit it out because he had read and memorized the opening crawl. Another, a hard-core science fiction fan, had been boning up on supplemental materials: "Clone Wars," an animated TV series consisting of "epic adventures that bridge the story arc between 'Episode II: Attack of the Clones' and 'Episode III: Revenge of the Sith.' "
If you have watched these cartoons - or if you've enjoyed some of the half-dozen "Clone Wars" novels, flipped through the graphic novels, read the short stories or played the video game - you will know that the battle cruiser in question is owned by the New Droid Army of the Confederacy of Independent Systems, which is backed by the Trade Federation, a commercial guild that is peeved about taxation of trade routes.
And that is not the only aspect of "Episode III" that you will see in a different light. If you watch the movie without doing the prep work, General Grievous - who is supposed to be one of the most formidable bad guys in the entire "Star Wars" cycle - will seem like something that just fell out of a Happy Meal.
Likewise, many have been underwhelmed by the performance of Hayden Christensen, who plays Anakin Skywalker/Darth Vader. Only if you've seen the "Clone Wars" cartoons will you understand that Anakin is a seriously damaged veteran, a poster child for post-traumatic stress disorder. But since none of that background is actually supplied by the Episode III script, Mr. Christensen has been given an impossible acting task. He's trying to swim in air.
In sum, very little of the new film makes sense, taken as a freestanding narrative. What's interesting about this is how little it matters. Millions of people are happily spending their money to watch a movie they don't understand. What gives?
Modern English has given us two terms we need to explain this phenomenon: "geeking out" and "vegging out." To geek out on something means to immerse yourself in its details to an extent that is distinctly abnormal - and to have a good time doing it. To veg out, by contrast, means to enter a passive state and allow sounds and images to wash over you without troubling yourself too much about what it all means.
In corporate-speak, there is a related term used when someone has committed the faux pas of geeking out during a meeting. "Let's take this offline," someone will suggest, when the PowerPoint slides grow dark with words. Literally, it means, "I look forward to geeking out on this topic - later." But really it's a polite synonym for "shut up already!"
The first "Star Wars" movie 28 years ago was distinguished by healthy interplay between veg and geek scenes. In the climactic sequence, where rebel fighters attacked the Death Star, we repeatedly cut away from the dogfights and strafing runs - the purest kind of vegging-out material - to hushed command bunkers where people stood around pondering computer displays, geeking out on the strategic progress of the battle.
All such content - as well as the long, beautiful, uncluttered shots of desert, sky, jungle and mountain that filled the early episodes - was banished in the first of the prequels ("Episode I: The Phantom Menace," 1999). In the 16 years that separated it from the initial trilogy, a new universe of ancillary media had come into existence. These had made it possible to take the geek material offline so that the movies could consist of pure, uncut veg-out content, steeped in day-care-center ambience. These newer films don't even pretend to tell the whole story; they are akin to PowerPoint presentations that summarize the main bullet points from a much more comprehensive body of work developed by and for a geek subculture.
"Concentrate on the moment. Feel, don't think. Trust your instincts," says a Jedi to the young Anakin in Episode I, immediately before a pod race in which Anakin is likely to get killed. It is distinctly odd counsel coming from a member of the Jedi order, the geekiest people in the universe: they have beards and ponytails, they dress in army blankets, they are expert fighter pilots, they build their own laser swords from scratch.
And (as is made clear in the "Clone Wars" novels) the masses and the elites both claim to admire them, but actually fear and loathe them because they hate being dependent upon their powers.
Anakin wins that race by repairing his crippled racer in an ecstasy of switch-flipping that looks about as intuitive as starting up a nuclear submarine. Clearly the boy is destined to be adopted into the Jedi order, where he will develop his geek talents - not by studying calculus but by meditating a lot and learning to trust his feelings. I lap this stuff up along with millions, maybe billions, of others. Why? Because every single one of us is as dependent on science and technology - and, by extension, on the geeks who make it work - as a patient in intensive care. Yet we much prefer to think otherwise.
Scientists and technologists have the same uneasy status in our society as the Jedi in the Galactic Republic. They are scorned by the cultural left and the cultural right, and young people avoid science and math classes in hordes. The tedious particulars of keeping ourselves alive, comfortable and free are being taken offline to countries where people are happy to sweat the details, as long as we have some foreign exchange left to send their way. Nothing is more seductive than to think that we, like the Jedi, could be masters of the most advanced technologies while living simple lives: to have a geek standard of living and spend our copious leisure time vegging out.
If the "Star Wars" movies are remembered a century from now, it'll be because they are such exact parables for this state of affairs. Young people in other countries will watch them in classrooms as an answer to the question: Whatever became of that big rich country that used to buy the stuff we make? The answer: It went the way of the old Republic.
Neal Stephenson is the author, most recently, of "The System of the World," the last book of "The Baroque Cycle" trilogy.
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