This chapter of Ender's Game addresses two questions. First, are Ender's killings of Stilson and Bonzo morally permissible? He destroys them both and robs their families of them. Could this ever be morally permissible? Second, is Ender morally responsible for the consequences of his actions? Ender blames himself for the destruction of the buggers, but would he have done the same thing if he had known it was all for real? Perhaps by allowing the I.F. to train him for this (...) purpose, he had always intended to do it. Of course, Ender is not the only one involved here: maybe the International Fleet Command is responsible for the consequences of Ender's actions. After all, they unquestionably manipulate and structure Ender's surroundings, and clearly, it is the I.F. that intends for the buggers to die‐even if Ender does not. (shrink)

This chapter looks at how Göransson's motifs emotionally move us, but also how the music “reads the mind” of Din. In conveying meaning musically, Göransson's compositions enhance our aesthetic appreciation of The Mandalorian and further our emotional investment in Din's story. The ancient Greeks included music in education because they believed it perfects our soul or nature. Aristotle mentions that another purpose of music is to provide us with pleasure from the relaxation it provides. As Din and Kuiil set out (...) on their mission riding the blurrgs, The Mandalorian theme plays in full glory – a symphonic march with trumpets carrying most of the melody and harmony along with electric and bass guitars which help drive the orchestra. In addition to the pleasure we feel from enjoying well‐ordered emotional movements of music, Aristotle mentions another kind of pleasure we can feel from music: intellectual enjoyment. (shrink)

This chapter lays out the paradox of fiction as it relates to the Star Wars films in three claims: we have genuine and rational emotional responses to the fictional characters and events in Star Wars; we must believe these characters and events really exist; and nobody believes these fictional characters and events in Star Wars exist. While many fans like to talk as if the characters and events in Star Wars are real, none of us actually believe that Luke's heroic (...) journey is real. The illusion theory claims that the fictional work creates in us the illusion that the characters and situations depicted actually exist. One observation that the thought theory makes is that we often have emotional reactions to imaginary situations. The pretend theory says that the emotions we experience while watching Star Wars are not genuine emotions. Rather, they're quasi‐emotions. (shrink)