![]() ![]() Enough for us to see her hair, but not enough to actually appreciate what’s happening. This is a GREAT shot, and in my opinion, one of Lucas’ best.īut the Sequels don’t actually follow this same line of logic in Force Awakens, we only get brief glimpses of little Rey. A visual demonstration of Anakin’s (seemingly) irreversible fall. He is surrounded by a hellish background, and in his eyes, tears fall freely down his stone cold face. His golden eyes are focused on, a demonstration that he is now fully in the Dark Side. In the Prequels, we have a quick scene of Anakin surveying the flaming world of Mustafar. This isn’t the first time Star Wars has used visual storytelling in fact, both the Original Trilogy AND the Prequel Trilogy have used visuals to tell their story. This is a visual cue for the audience that shows how Rey is still that little girl whose parents abandoned her from this visual cue, the audience is expected to extrapolate that Rey hasn’t changed her hair in hopes that when her parents return, they’ll recognize her. An example would be her hair style Rey’s hair in Force Awakens is precisely the same she had when she was a child. The Dyad also links her to Kylo Ren/Ben Solo, allowing the two to form a powerful emotional bond that culminates in a romantic entanglement.īut therein lays the first problem with Rey’s character: her arc is dependent on visual cues and quick, easy to miss lines of dialogue. The Dyad between the two helps Rey become stronger, to the point that she’s capable of using Force powers far above her skill level. Rey not only has to learn to accept herself, she also has to become a hero for the Resistance and stop the First Order a conflict she never has a personal stake in until she gets kidnapped by Kylo Ren, which leads to the two becoming a Dyad. This personal character arc is tied to a Hero’s Journey story. It’s all very subtly done with dialogue and visual cues, and there’s nothing ENTIRELY wrong with that. It’s about changing herself, becoming what she wants to become, which is someone worth having in life. Rey’s arc is all about accepting not who she is, but DEFINING who she is. Under that definition, Rey certainly had a character arc: an emotional one. We accept the notion that a character arc is the way a character changes from their first appearance, to their last. But why is she accused of lacking one? And why is she called a Mary Sue, of all things? The answers to these questions may well be hard to accept. Hence, she chooses to be a Skywalker instead, honoring the family that saved the Galaxy by keeping their legacy alive. Her bloodline is the Palpatine bloodline, but she is as far from the Emperor as one can get her spirit is more in tune with the Skywalkers. In Rise of Skywalker, Rey is still forming her identity, and has to learn that family doesn’t define her. At the end of the movie, she starts forming her own identity. She is then offered a position of power by Kylo Ren, but she rejects it. ![]() She is rejected by Luke Skywalker, who only trains her begrudgingly. In The Last Jedi, Rey’s having difficulties defining herself, so she seeks both Luke, and later Kylo Ren, for their help in defining who she is. She learns to accept that they’re not, and that she’s better off living her own life going forward. She’s living on her own, waiting for her parents to come back for her. When we first meet Rey, she’s a scavenger in the world of Jakku. Rey’s character arc was simply more personal, and presented in a subtle fashion throughout the trilogy. First, as shocking as this may be to hear for some, Rey did, in fact, have a character arc. ![]()
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