Category: Movies

  • How to Build a Sparring Lightsaber with Parts from Home Depot and Spare Parts (with thoughts on learning and haptics)

    Photo courtesy of Ryan Cox.
    Photo courtesy of Ryan Cox.

    My cousin Ryan Cox is a longtime practitioner of a variety of martial arts including kung fu and tai chi. Ryan and his two older brothers–Ian and Jarret–grew up learning, sparring, and developing uncanny skill in hand-to-hand combat and weapons sparring. While Ryan and his brothers have developed rhizomic networks to enhance their abilities and pass on what they have learned to others, Ryan has went the most far afield when he traveled to Wudang Mountain to train with the kung fu monks who reside there.

    Photo courtesy of Ryan Cox.
    Photo courtesy of Ryan Cox.

    When we were younger, I remember myself being the one drawn to the Star Wars mythos more than anyone else in my family, but now Ryan tells me that he was always interested in the Jedi, their mystique, and their lightsabers. In more recent years, he has learned a lot of the backstory of the Star Wars universe from books and video games. His knowledge in those realms far outstrips my own.

    So, I was intrigued when he began talking with me about building his own lightsaber for demonstrating his swordmanship and possibly sparring if the “blade” were strong enough to withstand strikes. The guide that follows illustrates the first lightsaber that I built for Ryan in the fashion of General Rahm Kota’s. I used off-the-shelf parts easily obtained at Home Depot or any hardware store. Since I built this lightsaber, Ryan has modified it more, and I have built two lightsabers for myself–one that resembles Luke Skywalker’s Return of the Jedi lightsaber and one that resembles Darth Maul’s The Phantom Menace double bladed lightsaber. This guide focuses on Ryan’s “Mark I” lightsaber.

    Pedagogically, I promote the idea that haptics, building, and making are integral parts to any kind of education. We are embodied beings who do things physically in the world–whether it be in real life or online. I enjoy building things in my own time as another way to think about things–in this case, Star Wars, science fiction, Jedi mythos, world building, canon vs. noncanon, and design considerations: rhetoric of technology, aesthetics, practicality, etc. In Ryan’s case, haptics, proprioception, and movement are integral to his learning and lived experience. I am looking forward to learning from him with this artifact that I designed and built. The modes are the same–physicality, materiality, and haptics–but our efforts converge from different directions for a kind of haptic, learning synergy.

    I began the project by assembling the parts that I needed for creating the lightsaber’s hilt and belt clip. I carried an image of Rahm Kota’s lightsaber on my iPhone and went to the plumbing aisle of my local Home Depot.

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    These parts included:

    • 6″ x 3/4″ galvanized steel pipe
    • 3/4″ coupling
    • Two 3/4″ to 1/2″ coupling (one for display and one for sparring with permanently installed “blade”–these two couplings are interchangeable)
    • “Close” 3/4″ pipe (approximately 1 1/2″ long)
    • 3/4″ cap
    • D-ring
    • Carabiner
    • Hose clamps

    Roughly, these parts are assembled to create the lightsaber:

    lightsaber-DSC01973

    Other parts that I used for this build include:

    • 1/4″ white nylon rope (grip wrap)
    • 36″ x 1/2″ oak dowel rod (scrapped due to paint problem)
    • 48″ x 1/2″ paint brush rod (cut to 36″ and replaced the oak dowel rod)
    • Doorbell button assembly (for parts)
    • 80mm computer case fan (for electromagnet assembly)
    • JB Weld
    • Rustoleum Florescent Yellow Paint

    To create the lightsaber’s handle, I screwed all of the handle components together except for the 3/4″ to 1/2″ coupling like this: 3/4″ cap | 6″ x 3/4″ pipe | 3/4″ to 3/4″ coupling | 3/4″ close pipe.

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    Then, I prepared the nylon rope to create the grip on the two pipe sections (6″ pipe and close pipe) by burning frayed ends to melt the nylon.

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    Beginning at the business-end of the lightsaber, I tucked a small piece of rope under the first wrap against the 3/4″ coupling to hold the rope in place and prevent unraveling.

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    At the top end, close to where the 3/4″ to 1/2″ coupling (or lightsaber emitter/business end), I created a loop with the rope under the last wrap, which I ran the last wrap through and pulled into the wrap, which hid the end of the rope under the wrap.

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    I cut the loose ends.
    lightsaber-DSC02023Beginning on the other side of the 3/4″ coupling, I repeated these steps with the longer wrap of the 6″ pipe section. First, a small piece under the first wrap.

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    I pulled the rope tight around the pipe and pushed each wrap down to keep the grip as tight as possible.lightsaber-DSC02041

    Mose tried to help with the process as much as possible.lightsaber-DSC02043

    At the end of the 6″ long pipe, close to where the end cap goes, I placed the D-Ring and ran the rope through its eye to connect it to the handle.

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    As in the shorter section wrap, I created a loop and pulled the end of the rope through and under the last lines of wrap to hide the end and prevent the grip from unraveling.

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    Finally, I installed the cap. Before doing this, I wrapped the grip higher than necessary so that the the cap would compress the wrap when tightly screwed onto the 6″ pipe.lightsaber-DSC02052

    Since Ryan would likely bang his lightsaber when sparring, I wanted to make it as practical as possible while giving it a technological appearance. First, I tried attaching a circuit board from an average doorbell button with two hose clamps.

    lightsaber-DSC02053 lightsaber-DSC02055 lightsaber-DSC02057

    While I thought this fit the rugged look that Ryan might like for his lightsaber, I thought that it would be more practical to use only one hose clamp and affix the doorbell components with JB Weld after removing them from the circuit board.

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    I liked this configuration best. The hose clamp protects the switch, lights (non-functional), and resistor.

    Next, I wanted the display emitter on the deactivated lightsaber (3/4″ to 1/2″ coupling) to look “realistic,” so I pulled the electromagnet from an 80″ computer fan, crushed it with my channelocks, and inserted it into the 3/4″ end of the 3/4″ to 1/2″ coupling. Repurposing the electromagnet draws on a visual/physical rhetoric of technology in the same way that movie props and set design use this for world building, extrapolating, and establishing plausibility.

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    The next phase of the lightsaber build involved the other sparring emitter. I needed to rigidly attach a wooden blade to the second 3/4″ to 1/2″ coupling in the 1/2″ end of the coupling and paint it to match the yellow blade color that Ryan sought (signifying the Consular Jedi).

    I began by taking an oak dowel rod and whittling one end enough to screw it into the 1/2″ end of the 3/4″ to 1/2″ coupling.

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    Then, I used JB Weld to permanently connect the coupling to the dowel rod.

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    I had to make sure that I did not put too much JB Weld on the tip closest to the 3/4″ pipe thread, which screw into the “close” end of the lightsaber when the blade needs to be drawn.lightsaber-DSC01989

    I made sure that it was centered and straight.
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    Finally, I painted the dowel rod above the coupling with a primer and then with the florescent yellow.

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    Unfortunately, I misread the spray paint cans and ended up with a mess when the florescent yellow would not stick to the dried primer (I mistakenly picked up white primer + paint instead of simply primer).

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    Luckily, I had a paint brush handle in the garage that was long enough to serve the same purpose even if it might be made out of pine instead of oak.

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    I cut the paint brush handle down to 36″.

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    Set it up for painting with the remaining florescent yellow paint.

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    Many coats later, it was a bright yellow befitting a Consular Jedi!

    After the paint dried, I screwed the metal end of the brush into another 3/4″ to 1/2″ coupling and bonded the blade to the coupling with JB Weld.

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    After everything had dried, I mated the blade with the lightsaber handle.

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    I was happy with the outcome of the lightsaber in deactivated mode, too.

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    I gave the lightsaber to Ryan as a birthday present. I included this explanatory diagram that explains how the saber is more than simply parts (e.g., the rope is from the same bundle that Ryan and I used when we cut trees down in my yard last year).lightsaber-DSC02085

    Since I build this lightsaber, Ryan removed the nylon rope grip and improved it with three layers of bank line or tarred twine. The result is quite impressive aesthetically and practically!

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    Photo courtesy of Ryan Cox.
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    Photo courtesy of Ryan Cox.

    I will post future posts on the lightsabers that I have built for myself and examples of our sparring (when we have the time for Ryan to teach me some things).

    UPDATE: Readers asked me to post photos of my other lightsabers–one inspired by Luke Skywalker’s lightsaber in Return of the Jedi and Darth Maul’s double-bladed lightsaber from The Phantom Menace. When I built these sabers for myself, I didn’t take as many photos of the process as in the lightsaber above for Ryan, but these photos should illustrate the basics of how to build similar DIY lightsabers.

    Luke Skywalker ROTJ Lightsaber and Stand

    IMG_4671This was the first version of Luke’s lightsaber. I am working from memory as I do not have the lightsaber in front of me to give the exact specifications. I believe that working from the left to the right: 3/4″ to 1/2″ reducer, 1/2″ threaded pipe 1″ long, 1/2″ to 3/4″ bushing, 3/4″ coupler, 3/4″ pipe 7″ long, 3/4″ coupler, 3/4″ to 1/2″ bushing, flat washer with eye bolt affixed (epoxied into bushing). The orange lightsaber control attached to the first coupler is from a computer motherboard heatsink (sawed in half with a hacksaw) and epoxied to the coupler. The wrap is nylon rope.

    IMG_4761In the next iteration, I replaced the nylon rope wrap with rubber o-rings that I ordered online (pack or 40 or 50). To install the o-rings, remove the last coupler on the right and roll down the o-rings one-by-one.

    To display Luke’s lightsaber, I used smaller pipes attached to a wood base (two different sizes of lumber screwed together through the metal base connected to the pipes).

    Darth Maul’s Double-Bladed Lightsaber

    IMG_4672I built this Darth Maul inspired lightsaber as a way to figure out an easy way of having a two bladed saber that can split into two separate lightsabers. My solution was to use quick disconnect air hose fittings.

    IMG_4673In order to make this work with the larger pipes used for Darth Maul’s lightsaber, which appears heftier in Episode I, I had to use two bushings to reduce down to the smaller size of the air hose fittings.

    IMG_4593Here is the double-bladed lightsaber connected.

    IMG_4594Here is the double-bladed lightsaber disconnected into two separate sabers. I didn’t build blade attachments for this saber, so I couldn’t test how much pressure/stress could be applied to the quick disconnect coupler that holds everything together. I suspect that this kind of assembly can only be used for show rather than demonstration of saber techniques (as I had constructed the two sabers above). With further modification, I believe that someone could sheath the quick disconnect coupler with metal so that the saber appears more solid from end-to-end instead of having this smaller, weak point in the middle as this demonstration saber appears.

    I hope these extra photos and explanation help. Good luck with your builds, and please share any photos that you post online of your sabers in the comments below!

  • TRON Legacy Brings Cyberpunk Full Circle

    Y and I drove to Pittsburgh today to see TRON Legacy on IMAX 3D at the Cinemark in Pittsburgh Mills. I will write up a full review for the next SFRA Review, but it suffices for now to say that it is a wonderful film that is fully deserving of the hype that led up to its release.

    I like to point to the first TRON film as the popular beginning of cyberpunk in science fiction. There are obviously precedents in novels and short stories, but it was TRON that visually presented “the grid” before Gibson’s receding lines of light. Disney was there first, and they were there again in TRON Legacy–upgrading the original look with slick 3D visuals, and reminding us about the real driving innovator behind consumer digital electronics–video games and virtual spaces (in their many forms). I need to sleep to process the film more fully, but I am very much looking forward to writing this review.

    If you want cool desktop pictures from the high resolution TRON Legacy trailer, cycle over to slashfilm here. If you haven’t already seen the trailer and film segments, see what Apple has to offer here.

  • Terminator Salvation and Battlestar Galactica

    I spent part of today catching up the last part of Battlestar Galactica Season 4, and I saw Terminator Salvation this evening with Y.  I learned in BSG today that the Thirteenth Tribe were actually Cylons–skeletons, bodies, and all. In Terminator Salvation, Marcus Wright is constructed in the other direction than Terminator 3’s Terminatrix–Marcus is the fusion of man and machine.  However, Marcus was once a murderer–the unconscionable, monstrous, the inhuman.  Given his second chance, he becomes human, or at least what we may consider the human ideal–altruistic, helpful, and self-sacrificing.  Thus, the machine makes the man more human.  However, throughout Terminator Salvation and BSG, I’m reading a shift in the concern about the machinic appropriation of the human.  In Star Trek: The Next Generation, the original Terminator and T2 films, and older SF, the fear was only about the surface, about the appearance of human mapped or stretched over a cold, metallic infrastructure.  Now, it seems like the concern has more to do with organs and the organic.  Where does this anxiety over our bodies and the tissues that make them work and function come from?  Obviously, the fear of losing human-ness to the machine is rooted in the emergence and subsequent evolution of anxieties following the integration of humans into the great machine and system of the Industrial Revolution.  Perhaps following the turn of the century into the 2000s, the organic (i.e., genetics) meshes with the machine (i.e., AI representing the networked/computerized landscape of the now).  What this might mean for future SF and our engagement with organic and machinic technologies I do not know.  However, I am eager to discover where this future might lead.

  • Wall-E, Terrific Science Fiction

    Y and I just got back home from seeing Pixar’s latest animated film, Wall-E, at the single screen Highland Theatre in Akron, Ohio.  It’s everything but a “silly cartoon.”  I have to tell you–Wall-E is TERRIFIC Science Fiction, and GREAT filmmaking!

    I’ve seen every film by Pixar except for the Toy Story series, and I’ve enjoyed all that I’ve seen thus far.  However, Wall-E surpasses all of their previous work through a well-thought out story, amazing cinematography, good examples of real-world physics, and the interweaving of American consumer culture with capitalistic-paternalism and eco-disaster.  The most striking element of the film goes back to Leo Marx’s work, The Machine in the Garden, but I believe Wall-E is emblematic of how Marx is wrong.  Marx’s thesis is that American literature imagines an idyllic garden which has been lost and is reattainable through the embrace of technology, but the lost Edenic pastoral is gone forever, and technological progress pushes us further away from it.  The characters of Wall-E and his girlfriend, Eve, show humanity the way toward regaining what we’ve lost through two key scenes (one in the film, and the other during the end credits).  The earlier scene has Eve take Wall-E’s plant offering into what is best described as a womb.  There, the plant is safe until returned to the corporate robot controlled Axiom starship (accepted/unquestioned truth, wow, what a perfect name!).  Wall-E and Eve keep the plant safe, and reawaken obese humanity’s connection with (mother) Earth.  Then, during the end credits, there are developing scenes in a variety of stylzied animations covering cave paintings to Egyptian heiroglyphics to Impressionism.  In these scenes, the garden is recreated by the cooperation of humanity with its autonomous robotic creations.

    Wall-E is a really fun movie for all ages, and I guarantee that you’ll be as enchanted as I was by this amazing Science Fiction allegory!

  • The Cigarette Smoking Man and Ms. Yutani in AVP2 Requiem

    Another interesting aspect of AVP2 Requiem is the appearance of the Cigarette Smoking Man from The X-Files. Okay, so the character is called Colonel Stevens, and he’s played by Robert Joy and not William B. Davis. However, he serves a similarly shady function within the AVP2 narrative. This American government/military official donning a black suit instead of uniform, orders the nuclear strike on the small town Alien infestation. Additionally, after the survivors make it out of the blast zone, they are intercepted by Special Forces members, who disarm them of the Predator energy weapon. This weapon in turn is then given by Col. Stevens to Ms. Yutani (Françoise Yip). This is an interesting development, because it serves to strengthen the bonds between government and corporate bodies. As you may know, Yutani is the other half of Weyland-Yutani, the mega-corporation from the original Alien and Aliens films (the Weyland aspect of the corporate puzzle is explained in AVP with the appearance of Charles Bishop Weyland played by Lance Henriksen). AVP2 does not go into the reasons why a government official would give otherworldly technology to a corporation, and my assumption is that this is a retelling and continuation of Cold War tropes embedded in Eisenhower’s military-industrial complex. Perhaps this signifies the hard currency payback by the government for its wholesale purchase by corporate interests in the here-and-now.

    More AVP2 commentary on Dynamic Subspace here and here.