“There’s been an Awakening in the Force” – but what kind?
Feeling the franchise fatigue? It’s understandable. Whether through filmic expansions on original texts – Parts 1 & 2, for your viewing pleasure and box office sales – recalling nostalgia for a past childhood – I’m looking at you, Finding Dory (June 2016!) – or in the face of Marvel’s ever-expanding arsenal of white male superhero fantasies – poor Peter Parker, doomed to repeat high school once again – viewers all around are perfectly justified in just waiting for the next recycled sequel to hit Netflix or Redbox.
And then, came a day that shook up the status quo; a day to live on forever in the hearts of fans everywhere: December 18, 2015.
In light of heavy-handed promotion, plenty of folks were warning against Star Wars VII: The Force Awakens fatigue even before the film premiered. At present, however, close to two months and 2.028 billion USD in earnings, fans have already begun to anticipate the next installment, set to premiere in December 2017. Fueled by set photos posted on Twitter, cast lists, and conspiracy theories, the Star Wars fervor continues. Amidst all the rumors, one central mystery inspires and drives forth the bulk of narrative speculation:
Who is Rey?
Bringing in a cast of young, diverse, new characters while reintroducing the old seems like a good way of reinvigorating a franchise arguably dulled by lackluster prequels, although naysayers will have their complaints. Put a lightsaber in the hands of a young woman of mysterious origins and incredible Force sensitivity, and absolutely everyone loses their collective bantha-shit.
Popular theories diverge into two camps:
Whether cast as Luke Skywalker’s illegitimate daughter with yet another absent-possibly-deceased mother, or as Kylo Ren’s long-lost sister (which leads all Reylo shippers into a rather uncomfortable position; a mistake twice made in the same franchise), proponents of this theory usually point to the instant affection expressed by both Han Solo and General Leia Organa upon meeting a young woman who, on all accounts, ought to be a complete stranger. This is, of course, in addition to the unreadable look Luke gives his own maybe-daughter while doing his cool posturing on the edge of a cliff.
Sure, Jedi aren’t supposed to give into strong emotion, much less foster long-lasting relationships outside the realm of fraternal or familial affection, but hey, Obi-Wan Kenobi was quite the suave character. Not to mention, he must have sought out some company whilst in exile on Tatooine.
A third camp proposes Rey might be completely unrelated to the tightly enclosed Skywalker family, and thus unconnected to the rather incestuous network of characters who have been causing imbalances to the Force and disruptions within the galaxy for decades. This minority expresses excitement over the introduction of a new and potentially unaffiliated player to the already crowded chessboard, especially given the evidence of parallel narrative structures inherited from the original trilogy.
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But how does Rey define herself?
“I’m no one,” she protests to the keen-eyed Maz, who can tell even without her magnifying goggles that Rey’s estrangement from a nuclear family unit matters little in the grand scheme of epic adventure, inherited destiny, and lightsaber-chosen fate. Some quick-witted fans have already made the connection to Odysseus’s claim of being “Nobody,” extending their conjectures about Rey’s role into a full-fledged allegorical analysis following the Greek hero’s epic journey.
But while Rey might feel better off in the comfortable obscurity of being “no one,” the lack of properly signifying markers referencing a stable identity produces both excitement and unease. Who left Rey alone on Jakku as a helpless child? What trauma might have happened in the long stretch of years since that abandonment, and whose return does she so faithfully and tragically anticipate, despite all evidence of permanent separation from her former life?
In her artifact-triggered, Force-induced vision, Rey comes face-to-face with the child-version of herself, wearing similar garb, and even the same hairstyle as her present appearance. While recalling the uncanny encounter of looking at one’s younger self and experiencing one’s memories as in a mirror, the image suggests simultaneous development and stasis. The younger Rey pleads for the return of an unidentified entity, object, or individual – a deliverance still unrealized in the life of the adult, and finally surrendered as an irrecoverable loss. Yet even with this presumably unfiltered glimpse into Rey’s mind and subjective memory, her identity remains murky. Ultimately, such revelations give rise to more questions than they answer.
As a character composed of complex signifiers that fail to reveal a cohesive legible image, Rey is an inscrutable character. She represents a text both oversaturated with possible meaning from an overflowing archive of materials in the Star Wars universe, and, at this specific liminal moment, an identity constantly under revision. In contrast to George Lucas’s writing of Luke Skywalker as his own self-insert, the potential for Rey’s development appears all the more infinite given the wealth of questions The Force Awakens stubbornly declines to answer.
Certainly, viewers can anticipate the unfolding of Rey’s identity throughout Episodes VIII and IX, and despite the opacity of her narrative backstory, the popular reception of this new heroine has been overwhelmingly positive. Despite numerous instances of the purposeful exclusion of Rey’s character in available toys and merchandise, the revelation of which resulted in the trending of #WheresRey in backlash, there are those who continue to celebrate the opportunity that such inscrutability grants. Filling in narrative gaps with their own relevant meanings has long been a common fan practice, an exercise in claiming representation, and a process of interpretive meaning. Although Rey appears uncertain as to the ins and outs of her own identity, the construction of such as a work-in-progress appears far more relatable than any pre-made Self.
 Scott Mendelson, “Star Wars: Force Awakens Passes Avatar Today to be Top Grosser of All Time in U.S.,” Forbes.com, Jan. 6, 2016.
 According to a host of news sources, the postponing of Episode VIII to December of 2017 came as a result of rewrites focusing on characterization and groundbreaking representation of queer characters.
Vicky Cheng is a third year Ph.D. student and teaching associate in Syracuse’s English Department. She studies Victorian literature and culture, with an emphasis on feminist and queer readings of the body. When not reading for forthcoming qualifying exams, she can be found drinking tea, napping, or having strong feelings about Star Wars, Marvel films, and Hamilton.