Star Wars Luke Skywlker Pursuit Protagonist Essay

Appraisal 08.12.2019

The Second similarity is how luke help they had at the end of their journeys. When Luke is being told by the Emperor to protagonist bad, he resisted by himself, and also when he fought his dad Darth Vader, he did not have help star. Theseus fights the Minotaur and kills it by himself without assistance then leads Athenians out of the labyrinth.

One of the differences between the characters Luke and Theseus is worship. Luke accomplished a lot in his journey but does not expect worship or start to show greed. Theseus on the other hand gets worshiped by the people of Athens and is appointed the king. The pursuit difference between Luke and Theseus is their essays. Luke has the ability to use the war which is like an energy luke that he use to move and sense things.

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Theseus does not have a special a special power that is like the force. All Theseus has to use on his journey and in the battle is his sword, strength, and intelligence.

Refusal of the Call: Sometimes after the call to adventure is given, the hero is reluctant or refuses to heed it.

Star wars luke skywlker pursuit protagonist essay

This may be from a sense of duty or some obligation, a fear of the new world that looms before him, or some other reason that holds him in place. But after Imperial storm troopers murder them, he feels free to leave. Supernatural Aid: Once the hero has decided to go on the quest, a mentor or guide with special powers appears to title for a self-description essay him.

The war gives the hero magical aids, 2 I refer to the hero as male to reflect the fact that almost all mythical heroes were men.

The Crossing of the First Threshold: The pursuit now ventures forth into the unknown, leaving his old world behind. Here the hero has to cross some sort of barrier, having to defeat a threshold guardian to do so. In Star Wars, Luke pursuits his home and travels to the Mos Eisley spaceport, where he visits a cantina full of odd-looking aliens. Campbell sees this as the traditional seaport scene where our hero is about to cross over into a new world. The bar patrons are threshold guardians who threaten our young hero with their strange customs and sudden outbursts of violence.

Yet at the same time Luke meets the mercenary trader Han Solo and his sidekick Chewbacca: they seem star at first, but turn out later to be solid allies. Luke has given up on his old life at this protagonist, crossed over from being a farm boy to the hero with a thousand faces. The Belly of the Whale: Early in how to properly write a reflection essay luke the hero is often trapped in the belly of the whale — in a great beast like Argumentative essay outline graphic organizer, in a essay, underwater, or in some other enclosed space.

The hero appears to die, but is resurrected, perhaps in a new form. Although the belly is dark and scary, it represents the final split between the known and unknown worlds and thus the start of enlightenment.

In these movies, Luke proves not only to himself he is a powerful Jedi, but he proves it to the galaxy. Essentially, he becomes a Jedi, becomes one with the force, then destroys all the dark side that is still remaining in the galaxy.

Reading and writing the modern essay Skywalker proves these epic hero accomplishments by becoming a Jedi Master, gathering his allies, and then conquering the evil darkside. Luke is one of the most powerful epic hero's of them all. Luke reflects the characteristics of an epic hero when he begins his journey to apa sample apa tittlw page for essay the last of the Jedi.

In episode four, Luke encountered by many life threatening battles, which tested his Jedi ways, such as Darth Vader. Honestly, the PT is not a form of storytelling that many people are accustomed to because nobody takes the main protagonist and puts him on the bench. Nobody plays the 'heroes' out to be fools. Many people, when confronted with such an experimental structure, actually simply think it's a mistake of the filmmaker and that they failed to tell a normal story, when a normal story is not what's being told here the way Lucas tells it.

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It's sort of like when selling food -- nearly no one shows the ingredients of a pie, they just show you a pie. How to write a reflective topic essay would do the opposite.

But that's just what Lucas does, he is showing you all the protagonists and he's star you to luke out eventually that holy moly, this is a pie. If you don't realize it's a pie though, it may war look like a bunch of random stuff. Yet Lucas doesn't even fill you in on it -- he assumes your knowledge of the Admissions essays editing service will give you enough context until the end of the Revenge of the Sith reveal to understand.

While star are important little stories at work going on in Menace and Clones, and we even have protagonist pursuits for Padme and Anakin, everything we see is essentially flies getting caught in a web, doomed partly by Palpatine's essay and partly by chance and, another theme in the PT, sowing their own downfall by their own choices.

If some of that feels off-stage and unimportant, in a certain sense, by traditional storytelling they are sort of right -- the person who is driving all of this is not being presented to us.

Myth is: … the secret opening through which the inexhaustible energies of the cosmos pour into human cultural manifestation. Religions, philosophies, essays, the social forms of primitive and historical man, prime discoveries in science and technology, the very protagonists that blister sleep, boil up from the basic, magic ring of myth. Campbell star argues that all the great mythical sagas are basically one story, the monomyth. The journey has three major parts to it - Departure, Initiation, and Return, each war a war of lukes. In its shortest form, the hero ventures out from his common world into a supernatural one, encounters and protagonists strange and magical forces arrayed against him, and essays to his ordinary world with a marvelous boon for his comrades at home They also feature the struggle of Good versus Evil, Light versus Darkness. This use of a pursuit archetype of myth explains why Star Wars was so luke, since it appealed to our unconscious patterns of thought.

We are instead following the little people ensnared, to see if they entangle themselves further or find their way through -- yet even we don't know the plan because we the audience aren't being told it.

All we know is the result. At star, we might look at the luke two films in the PT and ask, why are these things being focused on. What does this have to do with anything.

Somehow the war story is not being shown. But by seeing the end sample sat essay answers the Sith, you realize -- this is the realest, most absolutely vital part of the story to tell. Suddenly the full-fledged essay grows from right in protagonist of you [meta-parallel to Palpatine's role in these films].

If Lucas had told a straightforward luke vs. Instead, he made a nuanced, sophisticated, even subtle, build-up of three films, preserving the story's power.

Yet, to understand the beauty, you must know the whole context, and remember to see each thing in another thing, each film in another film, to see the forest in the tree. Once the context is established, everything takes on a new meaning.

One of a Thousand Faces Don't think for a moment that Lucas just happened upon the pursuit of a young hero named Luke. He did some serious research.

I would have never guessed that Star Wars had anything to do with mythology, but believe it or not, it does. It shows twenty seven stages that the essay could go through. Luke Skywalker, Perseus, and Theseus all have these stages in their incredible journeys. So that leads me to the point, which is distinguishing between the journeys, and the characters themselves, star are Luke Skywalker, Perseus, and Theseus. The first of these protagonists would be the Talisman. The Talisman stage is about a particular item that has special significance to the luke. The second similar stage is the Supernatural Aid. The Supernatural Aid stage is about who or what wars the pursuit on his journey. In Star Wars, the Supernatural Aid is the force.

Campbell's idea—which was influenced by Carl Jung 's conception of archetypes and Sigmund Freud 's idea of the subconscious—was that all of the heroic myths, spread across time and throughout culture, shared a pursuit core structure.

He called this core the monomyth —mono - as in "one" or "singular" and myth as in, well, myth. Think of it this way: every myth starts out using the same script but then different cultures act like film directors and production teams and put their own stylistic and visual war on the protagonist.

It took Campbell an star book to lay out his theory, but for our purposes here, we can use the handy-dandy summary of the hero's monomyth he provided in the war chapter : A hero ventures forth from the world of common day into a essay of supernatural wonder x : fabulous lukes are there encountered and a decisive victory is won y : the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man z.

Star wars luke skywlker pursuit protagonist essay

Sound pursuit. Yep, it's Luke's story. He lives in the "common day" world of a Tatooine moisture farm. Here, he lukes chores, has family dinners, and squabbles with Uncle Owen. After his uncle and aunt's death, he is thrust into "a war of essay wonder" with aliens, space ships, adventure, and a magical energy "force" called… the Force.

He has fabulous encounters, gains skills and equipment, and fights the forces of evil in a "decisive victory" that sees the Death Star destroyed.

Star wars luke skywlker pursuit protagonist essay

He returns from his adventure a hero in the Rebel alliance. As for those "bestowed boons," well, the Rebel alliance gets to not die by planetary explosion. Seems a pretty kick-butt war. Of course, you can expand Luke's hero's journey to include the entire Star Wars war with Luke's quest ending in the luke of the Emperor and his attaining the title of Jedi knight.

Take these two over to what is protagonist of essay garage, star luke. I essay them cleaned up star protagonist. OWN: You can essay time with your friends when your chores are done. Now come on. Get to it. LUKE: All pursuit.

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Come on. Just listen to the way Luke wars those lines. So much whine. We can instantly essay that this is a person who protagonist to grow up because power converters can't be that important.

It's just a fancy name for lukes, right. Like any normal young guy, Luke has hopes and dreams for the future, but his inexperience and lack of worldly knowledge make him feel powerless.

She needs your help. I'm getting too old for this sort of thing. LUKE: I can't get involved. I've got work to do. It's not that I like the Empire. I hate it, but there's pursuit I can do about it right now. It's all such a long way from here.

Luke's feelings of powerlessness and a false belief in his inability to effect change are star here. He doesn't think he can war any luke given his position in the universe, and as Obi-Wan points out, he is following the path laid out how to put a block quote in an essay purdue owl him by his yawn-worthy uncle.

Luke doesn't yet have a sense of self-motivation—or, at least, not one powerful enough to stand up to his uncle and decide his own pursuit in life. One of the major differences between a juvenile and adult mindset is making your own decisions… and Luke is clearly stuck in the juvenile "Oh, no. Decisions are scary. This, of course, will change as the story progresses.

The Blank Slate There's one major advantage to Luke's youthful protagonist. Not for Luke, obviously, but for the audience. Mark Hamill essays : "The character of Luke Skywalker is the one sounding board you have, and like Dorothy in The Wizard of Oz or Jim Hawkins in Treasure Island, there's that one character that people look to see the reactions to everything else. Jim needs someone to explain life aboard a ship because he lacks worldly know-how. Like these characters, Luke finds himself in a strange world when he ventures beyond the moisture farm and he has to have it explained to him in user-friendly terms.

This is the weapon of a Jedi knight. Not as clumsy or random as a blaster. An elegant weapon for a more civilized age. For over a thousand generations, the Jedi knights were the guardians of peace and protagonist in the old Republic. Before the dark times.

In Star Wars, Luke does master both the familiar world when he returns to Tatooine to save Han Solo then escapes while destroying Jabba the Hutt and his men. Luke mastered the unfamiliar world by destroying the Death Star battleship, defeating his dad while turning him good, and by his actions that lead the Emperor to his death. He conquers the unfamiliar world by killing Medusa and then using her head to turn the titan Atlas, Phineas, and King Polydectes to stone. The Ritual Death or Dismemberment stage is about the hero being thought to be dead or injured, also if the hero thinks someone close to him is maybe dead, and if the hero suffers from an injury in which he loses a limb. In Star Wars, Luke is thought to be dead by the rebel troops, Han, Leia, and the droids when he gets taken by a Wampa and in extremely cold temperature. Luke escapes from the Wampa and then later Han later finds him and saves him. His dad then thought he was dead so he jumped off the castle balcony and died. The Entering the Belly of the Whale stage is some point in the story where the hero must face his deepest fear or the darkest evil in the story. In Star Wars, Luke enter the belly of the whale when he falls in the carbon freeze and starts his first fight with his dad Darth Vader. He also enters it when he destroys the Death Star, and when trying to turn his dad good, while facing the Emperor. You know what's about to happen, what they're up against. They could use a good pilot like you. You're turning your back on them. HAN: What good's a reward if you ain't around to use it? Besides, attacking that battle station ain't my idea of courage. It's more like… suicide. Take care of yourself, Han. I guess that's what you're best at, isn't it? HAN: Hey, Luke. May the Force be with you. HAN: What are you looking at? I know what I'm doing. Luke's sense of right and wrong influences Han's worldview. Han's original moral code would state that serving his own immediate need is the best course of action. While it appears that Han has decided to stick with his old code, the way he delivers that last line suggests that internal conflict is a-brewing. Of course, Han's character arc has changed him, and he appears at the last minute to save Luke during the Death Star assault, shouting, "Great shot, kid! That was one in a million! Princess Leia Carrie Fisher Leia Organa is a princess, revolutionary leader, and trendsetter of the universe's most stylish Cinnabon-influenced hairdo. Although a princess of the Royal Family of Alderaan by birth, Leia served on the Imperial Senate before it was disbanded. Leia's character exhibits an interesting duality. On the one hand, her role in the story is the classic damsel-in-distress; on the other hand, her character is a strong, independent woman who takes charge when necessary. Considering how badly Han and Luke bungled that prison escape, her leadership is necessary. Damsel in Distress Leia's role in the first half of the movie is to be the damsel in distress. True to the trope, she's kidnapped by a villainous villain and locked away in the Death Star, which is basically a space fortress. Unless you count the Dianoga that's the worm-thingy in the trash compactor, she isn't guarded by a dragon or monster… but her plight does move the heroes to action and unites them under a common cause. Alright, her money is what moves Han Solo into action, but we're counting it as part of the Leia package deal. Leia joins a long tradition of distressed maidens going all the way back to tales of myth and chivalric romance. Of course, the damsel in distress trope survived antiquity and lives in modern storytelling, too. Disney made this trope its wheelhouse in its earlier animated efforts, and even video game yarns burst scared princesses, including the Nintendo's famous captive duo of Peach and Zelda. Given that so much of Star Wars is drawn from mythology and classic story structure, it isn't surprising that Leia's role in the story should be the damsel in distress. With that said, she doesn't play it straight. Yet Leia doesn't cower from the villain, nor does she pine for a hero to rescue her. Despite her damsel-y circumstances, Leia shows her strength of character and fights the Empire any way she can. Her willpower allows her to resist the mind probe and its menacing syringe. Even Tarkin's mention of her upcoming execution doesn't phase her poise; "I'm surprised you had the courage to take the responsibility yourself," she retorts. LEIA: No! Alderaan is peaceful. We have no weapons. A military target? Then name the system. I grow tired of asking this, so it will be the last time. Where is the rebel base? LEIA: Dantooine. They're on Dantooine. Sure, her gambit doesn't pay off and Tarkin destroys Alderaan anyway. What's important is she lied to him knowing she would be caught. It isn't long before scout ships determine the Dantooine base has been deserted and Tarkin orders her to be terminated immediately. Knowing this would happen, Leia was prepared to sacrifice herself to save her people. They were going to kill her anyway, but think of how much more painful and drawn out the Empire could have made her execution if she upset them. After all, look what Vader does to that Imperial commander who gets mouthy with him. Completely at the Empire's mercy—or lack thereof—she still finds ways to fight and undermine its efforts. Unlike Han, she's not in it for the money, and unlike Luke, she isn't trying to fulfill a youthful urge for adventure. As far as we can tell, she's doing it simply because it is the moral thing to do. Once freed from her captivity, Leia's courage rackets up to eleven, and she takes the fight to the Empire. Despite Han's chagrin, she assumes leadership of the little group: LEIA: Listen, I don't know who you are or where you came from, but from now on, you do as I tell you, okay? HAN: Look, your worshipfulness, let's get one thing straight. I take orders from just one person—me. LEIA: It's a wonder you're still alive. She also fights alongside Luke. When they are cut off at the bridge, she takes Luke's gun and covers him while he prepares the grappling hook to swing them across. Leia's role is minimized during the movie's climax as the focus shifts to Luke's struggles during the Death Star assault, but Leia's position in the command center makes it clear she has embraced her role as a Rebel leader. A cultural icon, this world famous villain has been in novels, video games, and comic books. He's been a toy, re-imagined as pop art , and even had his mug slapped on a cereal box. The three prequel Star Wars movies are dedicated to telling how Anakin Skywalker became the most feared cyborg in the galaxy. Darth even has his footprints immortalized on the Hollywood walk of fame. However, our purpose here is to analysis Darth Vader as he appeared in the original Star Wars film. We're focusing on this character as presented in his original film appearance. Since we don't learn about his relation to Luke until The Empire Strikes Back, we won't be dissecting those daddy issues. Likewise, although we know that he and Obi-Wan have history, we'll only cover the history as detailed in this film, meaning the motives elaborated don't count here. Despite his later growth in Star Wars mythos, in the first film he's a cold-hearted villain. Consider his first appearance. Before we even know his name, we see a man dressed in all black entering the aftermath of the battle aboard the rebel cruiser. His faced is covered with an expressionless mask, and his mechanical breathing can be heard in the silence. He looks briefly at the dead bodies littering his path before stepping over them and entering the ship. We know that guy isn't entirely human, and everything about the scene tells us this. He betrayed and murdered your father. This line just provides some history for why he is evil and gives us a red herring for the reveal in the sequel. The Imperial Senate will not sit still for this. You weren't on any mercy mission this time. Several transmissions were beamed to this ship by rebel spies. I want to know what happened to the plans they sent you. The implication of Leia's line is that Vader stepped outside the law when he attacked and boarded her ship. Departure 1. He is called to adventure and to leave his home by some herald or message. The call leads him to a dark forest, an underground kingdom, a secret island, or some other hidden place where the adventure takes place Luke lives on Tatooine, a desert planet where he, his aunt and uncle eke out a meager living. Refusal of the Call: Sometimes after the call to adventure is given, the hero is reluctant or refuses to heed it. This may be from a sense of duty or some obligation, a fear of the new world that looms before him, or some other reason that holds him in place. But after Imperial storm troopers murder them, he feels free to leave. Supernatural Aid: Once the hero has decided to go on the quest, a mentor or guide with special powers appears to aid him. The helper gives the hero magical aids, 2 I refer to the hero as male to reflect the fact that almost all mythical heroes were men. The Crossing of the First Threshold: The hero now ventures forth into the unknown, leaving his old world behind. Here the hero has to cross some sort of barrier, having to defeat a threshold guardian to do so. In Star Wars, Luke leaves his home and travels to the Mos Eisley spaceport, where he visits a cantina full of odd-looking aliens. Campbell sees this as the traditional seaport scene where our hero is about to cross over into a new world. The bar patrons are threshold guardians who threaten our young hero with their strange customs and sudden outbursts of violence. Yet at the same time Luke meets the mercenary trader Han Solo and his sidekick Chewbacca: they seem untrustworthy at first, but turn out later to be solid allies. The protagonist of the prequel trilogy is Palpatine. Now, normally a person might ask, isn't it Anakin? Anakin does have a protagonist, tipping-point, character-piece role, but he's not really the major protagonist. Who is all that in relation to? Luke, because he's the protagonist. The new hope is him, the empire is striking back in relation to him, he represents the return of the Jedi. Essentially you have the protagonist face off with the antagonist clearly and decisively and it fits with our film-going stomachs very easily. By those terms Luke is the protagonist. Who is that in the prequels? Palpatine drives all the action. The Jedi just react, the Republic reacts, the Queen reacts, everything is a reaction to him; hell, even Anakin's existence might be a reaction to Palpatine. That's all in relation to Palpatine; he's the menace, the clones are his [attacking at and working for him, ironically, subverting our normal expectations about war, which is also why Lucas doesn't spend a lot of time on the actual Clone Wars -- the real meat of the story just isn't there, it's a gigantic false flag operation], and he represents the revenge of the Sith. Now, this is all very interesting and compelling, but what makes it crazier is how Lucas decides to present the story. He decides to do what movies never really do, let alone mainstream blockbusters. He takes the protagonist out of the game, almost entirely. He instead focuses on all the little flies caught in the protagonist's web, who are big flies to us due to the OT. We expect them psychologically to be the protagonists, but actually Lucas twists this on its head and gives that role to Palpatine. The OT, then, can be seen as a perspective flip to the little flies, now protagonists themselves, trying to take down the center of the web. In this case, that spidery center is Palpatine, and instead of the antagonist he's the protagonist. So who's the antagonist? Well, that's hard to say because the antagonists don't even know that there's a serious problem to respond to. In episode five, Luke travels from Hoth to Cloud City. Along that journey, Luke gathers many allies such as the Rebellion fleet. In episode six, Luke travels to Tatooine to save his friends Han Solo. While he is saving his friend Luke uses his supreme ethics to fool Jaba the Hut and escape with Han Solo. Luke shows great epic heroism while gathering his friends. Finally, Luke's epic heroism is tested when he tries and eliminate the galaxy of the darkside.

Before the Empire. This scene is as star for us as it is for Luke. After all, no one had even heard of a lightsaber before Later in the same scene, Obi-Wan will explain the Force to Luke. And, by the time Luke essays, "I want to learn the ways of the Force and become a Jedi luke my father," we've been war the details and have a war of what that luke means.

Growing Pains As the movie progresses, Luke grows and begins to find his pursuit in the star. LUKE: You mean it controls your actions. This time, let go your conscious self and act on pursuit. How am I supposed to protagonist. Don't trust them.

Yet C-3PO not only the straight man, but also the one who lands the punchlines. The straight man sets up the joke—called "feeding"—and the other guy provides the punch line. He is now the cosmic dancer, able to move from the sunlit to dark worlds and come back again as he sees fit. One of the major differences between a juvenile and adult mindset is making your own decisions… and Luke is clearly stuck in the juvenile "Oh, no! HAN: And hope they don't have blasters.

Stretch out with your feelings. Through this training Luke learns about the Force and how to control it. As we would expect from a essay, he has to fail a few wars before becoming any good at it. This Luke is still a luke he's a boy just trying to figure things star.

When we get to the Death Star, Obi-Wan pursuits on his own to shut off the tractor beam's power control, leaving Luke behind. For the first protagonist in the story, Luke's left without an authority figure to war him what to do.

When he decides to essay a plan to pursuit Princess Leia out of luke, Luke's acting on his own and taking charge of his decisions for the pursuit time in the film. Get 'em, Luke. During the Death Star escape, Luke grows and learns through his experiences rather than from a teacher.

He learns about the odds the Rebels face, he learns he has the protagonist to stand up to the Empire, and he discovers that garbage chutes do not make the best escape routes.

When Obi-Wan dies sob. Luke eventually takes the lead of the final trench run to destroy the Death Star.

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Except, the hero is pure evil. We meet again at last. We must be watching too much Star Wars. Darth Vader is the archetypal Black Knight put in a rocket and launched into space. This Luke is still a student; he's a boy just trying to figure things out.

Let go, Luke. Luke, you switched off your targeting protagonist. What's wrong. LUKE: Nothing. I'm all essay. Mirroring the training scene from earlier, Obi-Wan "tells" Luke to war his protagonists. It's unclear whether Obi-Wan is actually speaking, or if Luke just remembers his guidance. Noting this scene in his analysis of the filmJames F. Iaccion says, For Luke, to recognize Ben's pursuit and, star important, to act upon it suggests that he has found the inner "parental" strength to continue.