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The Rebel Bunch: The Legal Status of Rebel Fighters in Rogue One

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Warning: Rogue One spoilers ahead.

“You’re all rebels, aren’t you?”

With all the moving pieces in Rogue One, don’t feel bad if you came away a little confused about how exactly the Rebel Alliance is composed. After all, even Jyn Erso had trouble making sense of it when she first arrived at the Rebel base. In the original trilogy films the good guys were really easy to tell apart from the bad ones—partly because of the Empire’s affinity for white, black, and various tones of grey. Rogue One muddied those waters.

Someone please tell Anakin to shove it.

In the original trilogy, the Rebellion was portrayed as a singular entity: a rag tag force that ducked, bobbed, and weaved around the galaxy. Rogue One changed that by showing us a fragile Rebel Alliance beset by divisiveness and extremist factions.

In this way Rogue One mirrors the real world, as conflicts have rarely been limited to two factions duking it out on the battlefield. The US experienced this in its own history, with irregular forces playing a role in almost every conflict from the American Revolution to operations in Afghanistan. Militias, extremists, and other irregular military forces often present complications that extend far past any single battle. Most recently, the “War on Terror” and Syrian Civil War have brought these complications into sharp focus as nations grapple with how to deal with different types of fighters.

Rogue One presents many of those same issues. While the larger Rebel Alliance struggles to throw off the Empire’s yoke, splinter elements like Saw Gerrera’s ruthless militia frustrate their efforts. The interplay between the Alliance and Saw’s forces poses an interesting question: What sort of legal status do the fighters in Rogue One have?

Darth Vader demonstrates his own method of determining one’s combatant status.

Fortunately, we don’t need K-2SO’s skills in strategic analysis to answer this one. Under the law of war, those who take direct part in fighting are considered combatants. But not all combatants are created equal under the law of war. “Privileged” (or “lawful”) combatants are those who meet certain traditional criteria established, in part, by The Hague and Geneva Conventions. Those requirements include (1) wearing a fixed distinctive sign or uniform; (2) operating under a military command; (3) carrying arms openly; and (4) abiding by the laws of war. Someone who fights but does not meet one or more of those requirements is considered an “unprivileged” (or “unlawful”) combatant. There is a big distinction between the two, as “privileged” combatants are entitled to prisoner of war (POW) status if captured and bear no criminal responsibility for acts within the bounds of the law of war.

Luckily for the Rebels, they fit the criteria for privileged combatants. First, while they may lack the polished white armor of Imperial stormtroopers (or the supremely badass Death Troopers’ black kits), the Rebels wear their own brand of uniform. We see a mix of these throughout Star Wars, from the iconic blaze orange flight suits of Red and Gold squadrons to the dapper button down and vest-wearing fleet troopers. Many Rebel pilots’ helmets are also emblazoned with the Rebellion’s iconic starbird symbol.

The latest in Rebel pilot and fleet trooper fashion.

The Rebel Special Forces (SpecForces) Soldiers who volunteered for the Scarif infiltration may not have REBELLION stitched on their backs, but they were still equipped in uniforms. Much like their brethren on Han Solo’s Endor strike team, their uniforms were meant to be utilitarian. Their shirts, vests, cargo pants, and combat boots are roughly similar to each other. The Continental Army faced similar circumstances during the American Revolution. American troops generally wore similar uniforms, but not every soldier had access to the same supplies, which sometimes resulted in ragtag-looking battle formations. As a whole, the Alliance’s uniforms are distinctive, which serves an important underlying purpose: It helps distinguish them from civilians on the battlefield.

Saw Gerrera’s militia force on Jedha provides a stark contrast. His forces forgo any type of uniform. This is best exemplified in the scene where Saw’s forces ambush an Imperial tank in the middle of Jedha City. His forces dress in clothing similar to Jedha civilians, wearing no type of uniform or distinctive insignia. Doing this surprises the Imperial troops when they hit the tank. After the ambush they again take advantage of their civilian appearance to melt back into the civilian population as Imperial reinforcements arrive.

Second, Alliance fighters operate under a military command. The Rebels in Rogue One have a clearly established chain of command, from lower enlisted troops like Corporal Bistan (everyone’s favorite space monkey door gunner on the U-Wing) all the way up to officers like crotchety General Draven and loveable Admiral Raddus. While one can certainly question the Alliance’s military decision-making (ahem, Admiral Raddus—we all saw you cowboy off to Scarif), there is no question that their forces are organized in roughly a traditional command structure. Those in authority maintain control over their forces and bear responsibility for their actions.

On the other hand, Saw’s forces are merely a loosely cobbled collection of denizens aligned around a similar goal. Saw is undoubtedly the leader of the group, but his position bears little resemblance to the type of military command contemplated by the law of war. To Saw Gerrera, this presents an advantage—the lack of rigid military command, control, and accountability gives his forces moral and tactical flexibility to more quickly achieve their objectives.

Besmirching Saw like that will get you sent straight to the bor gullet for a slimy tentacle hug.

Third, Alliance troops carry their arms openly. The requirement that privileged combatants carry arms openly helps distinguish them from civilians, just as with the uniform requirement. In Rogue One, the Rebel SpecForces on Scarif openly carried blasters as they maneuvered, fired, and displaced. The same went for the unfortunate Rebel troopers who rushed to download the Death Star plans before getting cut to ribbons by Darth Vader in quite possibly the most amazing Star Wars scene ever.

In comparison, Saw’s band of fighters only did so when it suited them. While some of his men are seen openly armed during the prisoner exchange with Bodhi, those involved in the Jedha City ambush conceal their arms until the last second. This quickly causes chaos, as the Imperials have trouble telling combatants apart from civilians in the fray. This confusion unnecessarily put civilians in harm’s way.

The Tin Man wanted a heart…poor K-2SO just wanted a shiny new Blastech blaster pistol.

Finally, although some of their actions were questionable, the Alliance abides by the law of war throughout Rogue One. For instance, they do not kill indiscriminately or target civilians. The Rebels contain their strikes to legitimate military targets, using force only when necessary. Conversely, Saw Gerrera’s forces appear to be at peace with violating the law of war if it helped achieve their objectives. The Jedha City ambush is a prime example, as many of Saw’s men disguise themselves as civilians before firing on stormtroopers. Under the Geneva Conventions Additional Protocol I, feigning protected civilian status to kill enemy combatants is considered perfidy, a treacherous act and breach of the law of war. Similarly, Saw’s use of the tentacled bor gullet creature to interrogate Bodhi Rook arguably constituted torture, which would violate tenets of international law such as the 1984 Convention Against Torture.

Ah, the face of an unprivileged combatant that only a mother could love.

Unlike Rebel Alliance soldiers, Gerrera’s band bears a striking resemblance to groups like the World War II French resistance groups Franc-Tireur and Francs-Tireurs et Partisans. These groups operated in small cells, wore no uniforms, and aimed to disrupt German occupation of France at all costs, much like Saw’s forces sought to do on Jedha. In the post-World War II Nuremberg Trials, many of the partisan fighters aligned with those groups were found to be unprivileged combatants. Saw’s forces would likely be treated the same given their composition.

In contrast, Rebel Alliance soldiers are classified as privileged combatants. This distinction is critically important to the Alliance because of the protections privileged combatants enjoy under the law. First and foremost, any captured Alliance soldiers would be entitled to POW status and granted the protections outlined in the Third Geneva Convention. Without this sort of protection captured Alliance forces would face a grim fate upon capture, including inhumane treatment, neglect, and summary execution. Although POW status would not magically prevent the Empire from committing abuses, it is nonetheless a vital right of lawful combatants.

Additionally, as lawful combatants, Alliance forces would bear no criminal responsibility for killing enemy personnel or destroying enemy property, provided the acts were done within the bounds of the law of war. Given the Alliance operations we see in Rogue One, this protection is critical. For example, Alliance pilots could not be held responsible for killing Imperial forces during their bombing run on Eadu. Similarly, had Scarif not been swatted by the Death Star, the Rebel SpecForces would be immune for their destructive efforts on the planet.

In the end, the Alliance’s concern for distinguishing itself from Saw’s band of fanatics goes far beyond the need for legal protections. Much like American forces during the Revolution, the Alliance’s struggle for legitimacy was just as important as any of their combat operations. Splinter factions like Saw Gerrera’s severely undermine the larger cause, as their extreme tactics helped the Empire’s effort in casting the Rebellion as a collection of terrorists and insurrectionists who deserve no quarter. It is therefore essential that the Alliance distance itself from those kinds of splinter groups by conducting its combat operations appropriately—even if the bad guys are led by a psychopathic Sith lord and his youngling-murdering half robot apprentice.

How Would You Defend Captain America After Marvel’s Civil War?

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Let me start by saying that if the United States were to try and prosecute the most patriotic super hero of all time I would, after passing the state bar exam, jump at the opportunity to be Captain America’s defense attorney. Think about it, Captain America is exactly what this country stands for, patriotism in every sense of the word. And I am not biased in my decision because of his actor counterpart. Although that would be nice too, it has nothing to do with my decision. Nonetheless, after acting as the prosecuting attorney in the Mock Trial of the Winter Soldier at San Diego’s Comic Fest 2016, I now get the chance to switch sides. I get to consider how I, as a soon to be (in 1 year hopefully) criminal attorney, would defend Captain America for the crimes he committed during the Civil War in the Marvel Universe.

I’m going to step into my prosecutorial shoes for a minute to lay out the charges I think he would be charged with; well, the charges I would try and get away with charging him with if I was the prosecuting attorney. Although there is no direct casualties openly admitted in the comic book other than Goliath’s death caused by Thor’s clone, it is a reasonable inference that there were civilians that died during the Civil War at the hands of either Captain America or a member of his team. I’m sure Iron Man plays a huge part in some of those deaths too but he’s not on trial in my hypothetical world. With that being said, Captain America would most likely be charged with multiple counts of murder even though his hands never touched a victim or caused a single murder.

captain-america-in-prison-or-even-dead-4-potential-endings-to-marvel-s-civil-war-570507
From Marvel’s Civil War, issue 7.

18 U.S.C. §1111 defines murder as “the unlawful killing of a human being with malice aforethought.” In addition, it states “every murder perpetrated by poison, lying in wait, or any other kind of willful, deliberate, malicious, and premeditated killing…is murder in the first degree.” The state would definitely try and charge Cap with multiple counts of murder but they won’t stop there.

They would charge him with, at minimum, eight more charges. They would try to charge him with:18 U.S.C. §1361 Destruction of Government Property, 18 U.S.C. §2385 Advocating Overthrow of Government, 18 U.S.C. §2332(b) Acts of Terrorism Transcending National Boundaries, Domestic Terrorism as defined in 18 U.S.C. §2331(5)(A), Assaulting, Resisting, or Impeding Certain Officers or Employees 18 U.S.C. §111, and Conspiracy to Commit Offense or Defraud the United States 18 U.S.C. §371. In addition, I would, as a prosecutor in the Marvel Universe, try and get a 10 year sentence enhancement by citing to 18 U.S.C. 521 and proving to the court that Captain’s acts under this section provide that he was involved in a criminal street gang as defined by the law and that they engaged in Federal felony crimes of violence within the past five years meeting multiple elements of this sentence enhancement. So as Captain America’s defense attorney, I would have my work cut out for me.

So where would I start? Well, I would fight the murder charges using an affirmative defense. Murder is essentially composed of three parts, (1) the killing of another human being; (2) by another human being; (3) who intended to kill the victim. However, in Civil War, Captain fails to intend to kill anyone. In fact, he gets angry with the Punisher for killing Goldbug and Plunderer despite the fact that these are “bad guys.” He even goes as far as directing his team to get rid of Punisher’s guns and “throw them in the incinerator.” Additionally, the law states it must be the killing of a human being by another human being. Technically, these guys aren’t even considered “human beings” by SHIELD agents or the government. They are consistently referred to as “super humans.” So does this even put them in the same legal category as human beings? The sentences they would face are not similar to that of a civilian. Their “jails” are even significantly different because if we placed them in a regular prison, they would escape easily. Therefore, I would start by fighting the murder charges by asking the court to consider the fact that a federal government agency does not address Cap as a “human being” but rather as “Super human”. Therefore, how could we hold him accountable for human crimes if the penalty we intend to give him is also not a “human being” consequence?

Let’s pretend I fail at this and am forced to use negating defenses. Then I’d use statutory interpretation to at least get the charges dropped to negligent homicide or 2nd degree murder because the law defines 1st degree murder as a “willful, deliberate, malicious, and premeditated killing.” According to the statutes use of the word “and” in reference to these elements, all of them should be present in the commission of the offense in order for the defendant to be charged with 1st degree murder. In this case, none of the alleged murders committed were willful, deliberate, malicious or premeditated. At best, any murders that occurred during the Civil War were war casualties, negligent, and an accident justifying a charge reduction to 2nd degree murder or negligent homicide because of the failure to meet the elements of 1st degree murder. The necessary mens rea to commit murder is lacking in the commission of the alleged offense.

Another affirmative defense that can be used is self-defense. This might be the easiest one to prove because Cap was only defending himself from the relentless attacks of Iron Man, but unless Iron Man is the dead victim (YAY!) I doubt this defense would be efficient. Another fact that would work in Captain America’s favor would be that he never once fought back with greater force than what he was being attacked with. Cap met the battle against Iron Man with equal force and never more further proving that he had no intention of committing murder. This could be a mitigating factor that I would use in favor of Captain America if not to lower the charges or to convince a jury otherwise, then to get him the least possible sentence.

Cap_CivilWar_JuryNullification

As for the charges of advocating to overthrow the government and domestic terrorism I would remind the court of history. In the Marvel Civil War events, SHIELD and the government wanted to have every “super human” registered for identification purposes and put into a boot camp where they are trained and their way of thinking or living is changed and molded into what the government wants from them. They would then be distributed across the nation in “super teams” of up to five super heroes and moved to a state of the federal government’s choosing, without having any say. Doesn’t this sound familiar? Let me refresh your memory to World War II Germany where every Jewish person had to register with the Nazi government for identification purposes, were put into internment camps, and Hitler’s government did with them as he pleased. How can the U.S. government and the court (in the Marvel Universe) punish Captain America, for fighting the very same thing that they themselves fought during WWII? How can they prosecute him for doing the exact same thing our leaders opposed of and fought against? This is for convincing purposes assuming he had a jury trial he was rightfully entitled to.

18 U.S.C. §2331(5)(A)(B)(i) defines domestic terrorism as “activities that involve acts dangerous to human life…appear to be intended to intimidate or coerce a civilian population…” If this is what Cap would be charged with then the same can be said about the government and their group of misfits and bandits that went out into the cities led by Iron Man supported by Federal agents from SHIELD. The acts they committed were also ones of domestic terrorism because their purpose was to intimidate and coerce not only the super human population but the civilian population as well. The use of violence and the witch hunt for super humans led by Iron Man instilled so much fear in the civilian population that he was approached by a mother whose little boy died because of his influence in the boys life. If anything, Cap is not guilty of domestic terrorism but instead guilty of trying to protect the rights and liberties of civilians and super humans alike.

As for the charges of acts of terrorism transcending national boundaries, 18 U.S.C. §2332(b)(1)(C) states that “the victim, or intended victim, is the United States Government, a member of the uniformed services, or any official, officer, employee, or agent of the legislative, executive, or judicial branches, or of any department or agency, of the United States…” Under this law, unless any of the civilian casualties were government employees this charge cannot stand against Cap.

18 U.S.C. §2332(g)(5)(A) defines a “federal crime of terrorism as an offense that is calculated to influence or affect the conduct of the government by intimidation or coercion, or to retaliate against government conduct…” Fighting this would not be easy because technically Cap’s acts were specifically that, in retaliation against government conduct, but it was conduct that even if the government in our real life nation tried to do, people would ban together to try and stop them. Essentially it’s like saying all left handed people have to register with the government so that they can be identified as such. Granted, voter registration in our society does just that but gives citizens the option to not identify themselves with any political party. The super humans that Cap was standing up for did not have an option or a say in any of the government’s acts.

Fighting the charge of destruction of government property might be the most challenging one. 18 U.S.C. §1361 states that the law prohibits actual physical damage or destruction of both real and personal property and states that whether the defendant knew or not that the property belonged to the United States is not something the prosecution has to prove because government ownership is “merely a jurisdictional fact.” Additionally, it states that title or possession by the United States is not a necessary element of this offense, as long as the property was being made for the United States. Let’s be realistic here. There is not a single person who is going to look at what remains after the Civil War and honestly and ethically say that no property was destroyed and the fact that title and ownership is not a necessary element of the offense makes this even more of a challenging rebuttal.

Lastly, I’m not sure if this plays a role at all in the trial but is Captain America on trial or Steve Rogers? In the comic, Steve Roger’s was arrested, not Captain America. Additionally, no one had to forcefully arrest him or fight him. Steve Roger’s willingly and very cooperatively handed himself over to law enforcement officials at the end of the Civil War. But it was not Captain America whom they arrested; it was Rogers. So technically, wouldn’t I have to defend the civilian Steve Rogers? If that were the case, I would have to change my arguments because he is being prosecuted as a civilian and not a “super human.” I don’t have time for that right now so I’m moving along.

The court in a case like this, even in the Marvel Universe, could go either way. There are many policy issues that would need to be addressed by Marvel legislatures that are out of the court’s control. Issues such as writing laws tailored specifically to the super human community holding them accountable for crimes they commit both in their performance as super heroes and in their time as civilians. The courts do not write law, the legislature does and in this case, the politicians in the Marvel Universe. The gravity of the damage and destruction this Civil War caused on the nation is immeasurable and defending Captain America would not be an easy task. It would take creativity and would have more likelihood of success if driven with strong policy arguments.

Thank you to Shawn Richter, photo credit credit Craig Bap at Cosplay Corral.
Thank you to Shawn Richter, photo credit credit Craig Bap at Cosplay Corral.

Overall, as Captain America’s hypothetical attorney, I would fight for him wholeheartedly armed with the knowledge that I’m not only fighting for Captain America’s freedom, but for the freedom of all super humans to live freely and with the same rights and liberties afforded to civilians. After all, these super humans protect the civilians in the Marvel universe in ways that no Marvel government agent ever could. Needless to say, I am TEAM CAPTAIN AMERICA all the way! If a lawyer puts on a trial armed with the facts and the law on their side but driven with their heart, they can convince anyone of their hero’s innocence. That’s exactly what I would do!

Who Owns the Millennium Falcon?

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In The Force Awakens, the Millennium Falcon starts out in the hands of Unkar Plutt, who stole it from the Irving Boys, who stole it from Gannis Ducain, who stole it from Han Solo, who originally got it from Lando Calrissian.

Rey and Finn steal it from Unkar, and lose it to Han Solo who *Spoiler* then dies. At the end of the movie Rey and Chewie are flying it.  So, who does the Millennium Falcon actually belong too?Slide3

Because our understanding of the laws of property under the Empire, New Republic, and First Order are so lacking, for the sake of this analysis we’ll assume that U.S. law applies.

The Millennium Falcon makes a brief appearance in Revenge of the Sith, but we don’t know who owns it at that point. In the absence of any evidence to the contrary we’ll assume Lando Calrissian is the first lawful owner of the Millennium Falcon. At one point he engaged in a “game of chance”, defined as “poker, craps, roulette, or other game in which a player gives anything of value in the hope of gain, the outcome of which is determined largely by chance….” (Ohio Revised Code.2915.01) (Hereafter O.R.C). He lost that game of chance, in this case Sabaac, and ownership passed to Han Solo. Or did it?

If the game was not lawfully sanctioned, it would be an illegal debt that is unenforceable under U.S. common law so the Millennium Falcon would still belong to Lando Calrissian. Hence, the comment, “What have you done to my ship?”

If the game was legally sanctioned and the Millennium Falcon was used as payment, or partial payment, for a debt lawfully owed, then ownership would pass to Han Solo. (O.R.C. 2915.02 does not prohibit conduct in connection with gambling expressly permitted by law.) Thus the rejoinder by Han Solo to the above comment, “Your ship? Hey, remember you lost her to me, fair and square” asserting that ownership had passed to him.

The Millennium Falcon is considered personal property. For most personal property ownership is often determined by possession, even if the ownership, possession or interest is unlawful. (O.R.C. 2913.01) Because of this Han Solo either has an ultimate claim to the Falcon, having received it as a payment for a lawful debt, or can claim a superior interest second only to that of Lando Calrissian, since his possession is only one step removed from the lawful owner.

The Millennium Falcon is later stolen from Han Solo by Ducain. This allows Ducain to exert a possessory interest over the Millennium Falcon, even though his claim was unlawful.

And it was stolen from Ducain by the Irving Boys, who could then claim a possessory interest over the Millennium Falcon, even though their claim was unlawful.

And it was stolen from them by Unkar Plutt, who could also exert a possessory interest over the Millennium Falcon even though his claim was unlawful.

 

Slide4

And it was stolen from Unkar by Rey and Finn, who could also claim a possessory interest over the Millennium Falcon even though their claim was unlawful as well.

According to the common law to determine the superior claim you simply work your way back up the chain. So Rey & Finn had a superior interest to everyone but Unkar’s, the Irving boys, Ducain, and Han Solo.  Unkar’s interest trumps Rey & Finns. The Irving Boys have an interest that trumps Unkar’s. Ducains’ interest trumps the Irving Boys. And Han Solo has a superior claim to them all.  And he then messes things up by dying. So now who owns the Millennium Falcon?
Slide5

Well, assuming Han Solo died without a will, which seems pretty likely, who owns it will be determined by the laws of intestacy. Han Solo was married to Leia Organa. They were separated, but don’t seem to have made it a formal separation as recognized by the law. They had at least one child (Ben/Kylo Ren) but, as far as we know, neither of them had any children outside of the marriage. As a result, where there is a marriage and all the children are born of that marriage then the whole goes to the surviving spouse. (O.R.C. 2105.06.) So even though Rey may be flying the ship, Leia inherited all rights to the Millennium Falcon and it ultimately belongs to her… assuming Han won it in a lawful game of Sabaac…but he was a great swindler and never one for the rules, so it’s entirely possible it still belongs to Lando.

The Dark Side Made Me Do It

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Could Anakin Skywalker argue the insanity defense for the decades he spent as an agent of evil? Could Anakin claim he was legally insane while following the Dark Side, thus not guilty for crimes ranging from murdering Younglings to blowing up Alderaan?

Vader_Testifying_Sepia_3422

Anakin Skywalker could not Chewbacca Defense himself out of the billions of people he helped kill. A trial of Darth Vader would have a body count near impossible to determine, given it would include every act of evil from cutting off Mace Windu’s arm (and the Emperor killing the Jedi Master); to butchering Tusken Raiders between Episodes IV and V on Tatooine (See Marvel’s Star Wars Darth Vader comic); murdering Captain Raymus Antilles with his bare hands; ordering the deaths of the crew of the Tentive IV, Force killing Captain Lorth Needa and Admiral Kendal Ozzel when court martials were in order; and many other acts done in the name of “The Doctrine of Fear.”

Darth Vader would not be absolved of criminal responsibility just because Govenor Tarkin gave the order to destroy Alderaan. The “I was just there” or “I was just following orders” did not work at Nuremberg war crimes trials and would not be a defense for blowing up a planet. Vader was an active participant in the Empire’s plans for galactic domination, thus would be viewed as being part of the “inner circle” for the crimes of the Empire.

The Insanity Defense is an affirmative defense where Anakin would need to prove by clear and convincing evidence that “as a result of a severe mental disease or defect, was unable to appreciate the nature and quality or the wrongfulness of his acts.” 18 USCS § 17.

Emperor Palpatine spent decades manipulating Anakin Skywalker’s ultimate fall to the Dark Side. These acts included preying on Anakin’s fears of his wife dying and a promise that Palpatine could save Padme from death. All of Anakin’s actions do not appear to be because of a mental disease, but being gullible. Anakin was promised that he could save Padme, which was the reason Anakin Skywalker marched on the Jedi Temple to murder children.

Every death Anakin committed as Darth Vader was a choice. It was not done because the “Dark Side” made him do it, but because he decided to kill others in the name of “Peace, Freedom, and Justice.” While there is no question Anakin was manipulated into becoming Darth Vader, it was a choice Anakin made for himself. Just as it was a choice Darth Vader made to save Luke Skywalker and throw Emperor Palpatine down the Death Star’s reactor shaft in Return of the Jedi.

As much as Anakin could whine that it was Emperor Palpatine’s undue influence that made him turn to the Dark Side, Anakin Skywalker could not prove by clear and convincing evidence he was legally insane during the decades he murdered those in his path after a failed attempt to save his wife Padme.

Expert Witness Reports for the Trial of James Buchanan Barnes

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The Mock Trial of the Winter Soldier at San Diego Comic Fest is a battle of expert opinions: did James Buchanan Barnes understand the wrongfulness of his actions?

James Buchanan Barnes’ defense team will argue that he is not guilty by reason of insanity. The law requires that the defense prove Bucky was insane by clear and convincing evidence, which is a lower standard then the Prosecution proving guilt beyond a reasonable doubt. The jury must weigh the facts and expert opinions presented by both sides and decide if Sargent Barnes was insane under the following Model Jury Instruction for the Insanity Defense for the 9th Circuit:

The defendant James Buchanan Barnes contends he was insane at the time of the crime. Insanity is a defense to the charge. The sanity of the defendant at the time of the crime charged is therefore a question you must decide.

A defendant is insane only if at the time of the crime charged:

1. The defendant had a severe mental disease or defect; and

2. As a result, the defendant was unable to appreciate the nature and quality or the wrongfulness of his acts.

The defendant has the burden of proving the defense of insanity by clear and convincing evidence. Clear and convincing evidence of insanity means that it is highly probable that the defendant was insane at the time of the crime. Proof by clear and convincing evidence is a lower standard of proof than proof beyond a reasonable doubt.

You may consider evidence of defendant’s mental condition before or after the crime to decide whether defendant was insane at the time of the crime. Insanity may be temporary or extended.

Your finding on the question of whether the defendant was insane at the time of the crime must be unanimous.

The Defense and the Prosecution each have an expert witness who will testify on whether James Buchanan Barnes was legally insane during the events of Captain America The Winter Soldier. You can view their expert reports below and see the issues of the trial on February 13, 2016 at San Diego Comic Fest. Page controls are at the bottom of the PDF viewer.

Dr. Janina Scarlet’s Expert Report for the Defense

Defense_Scarlet_Expert_Report

Dr. Andrea Letamendi Expert Report for the Prosecution

Prosecution_Expert_Report

“Why Is that Child’s Eyes So Big?”

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Anime is a fairly fresh contender for the affections of geeks in America, but nearly all media has been touched by it in one way or another. Whether it’s through parodies in popular American shows such as The Simpsons, Phineas and Ferb or Family Guy, on T-shirts in Hot Topic, or through trolling around Toys R’ Us to find that Pikachu doll on your child’s Christmas list, the chances are quite good that you’ve seen something related to anime. The big eyes, poorly-timed mouth flaps, and seemingly inappropriate vocal reactions are all common stereotypes used when a creator wants viewers to know that they are parodying the style of anime.

However, anime has not just emerged into the view of the public through parodies. Within the last two decades, many anime have been given the spotlight on popular networks such as Cartoon Network, IFC, and Sy-Fy. Pokémon, Dragon Ball Z, and Sailor Moon are perhaps the three shows most attributed to the 1990’s, but if you were up late and watching television often, you may remember tuning in to the occasional episode of Tenchi Muyo and Yu Yu Hakusho. It may have been as recently as this week that you’ve had to tell your kids to finish their homework before they could watch Naruto, Parasyte or Bleach.

While you may have seen one (or all) of these shows at some point, you may still be scratching your head and wondering what anime actually is. It actually depends! “Anime” is the term that the Japanese use to describe ALL animation, a nickname created by shortening the romaji animēshon (“animation”). In America however, the term “anime” applies almost exclusively animation originating from Japan. Printed comics in Japan are known as “manga,” and just as with the term “anime,” Americans usually reserve the term for graphic novels with a Japanese origin.

Despite the fairly recent attention anime and manga has received from the general masses, it has been around far longer than many of us. The very first anime can be dated as far as 1907-1911, when a 3-second film loop tentatively titled Katsudō Shashin was discovered in Kyoto in July 2005. It consists of fifty frames stenciled directly onto a strip of celluloid depicting a young boy in a sailor suit who writes the kanji for “Katsudō shashin (moving picture,)”, turns, removes his hat, and offers a salute. The creator’s identity is unknown. However, it was not until the 1948 establishment of Toei animation that anime began developing into the serial cartoons that are so popular today. Osamu Tezuka, known lovingly by many fans as “the father of manga,” created the manga series Astro Boy in 1952 and it was animated for television in 1963. It set the stage for the modern structure of an anime; a serial animation with a combination of self-containing episodes, several episode-long arcs, and long-running plots weaved into the entire series. The majority of modern anime however, cannot boast a 193 episode count like Astro Boy. Today, most anime contains 12-13 episodes per season, and run for roughly 1-4 seasons.

Because the term “anime” did not always have the marketing pull on American audiences it once did, many shows were not touted as anime when they aired, which results in many adults not realizing that their favorite show as a child was in fact, an anime (Speed Racer, Kimba the White Lion, and Mobile Suit Gundam, for example. I distinctly remember my mother stepfather being extremely excited over the possibility of family bonding after finding out that Speed Racer was an anime).

However, there is a large number of steps between the original release of an anime and it showing up on your television. An anime is usually adapted from a pre-existing manga, just like how many movies are adapted from books. After the vast amount of planning necessary for any artistic project to come into creation, the main director creates a storyboard (organizes illustrations or images displayed in sequence for the purpose of providing a visual displaying how the show will unfold) the anime for the animators and writers. In most cases, the voice actors (or “seiyuu”) for the characters do not enter the picture until the visual portion of the show is in development.

Upon the completion of the anime it will air in Japan. At some point a show may be licensed by an American company which will usually then give the show a “dub,” in which the original seiyuu are replaced by an English cast for American audiences. I would like to think that the streamlining of the dubbing process has contributed to the rise in the popularity of anime because it allowed many shows to be suitable for broadcast television, and more appealing to those who prefer to listen to the show in a language they understand rather than read subtitles. I would also like to think that it contributed to the rise in popularity because well, that’s the part where I come in.

I have worked in the anime industry since 2013 as an English voice actress. The average dubbing process in my experience begins with receiving a phone call or email offering them a role (a decision made by the show’s automated dialogue replacement (ADR) director), and informing them the amount of hours it will take for them to record the role. After they have accepted, the recording dates are scheduled. Recording an entire show is often done in a matter of weeks, so depending on an actor’s schedule, the length of recording sessions may vary. The longest I have recorded, for example was 9 hours straight when I had to leave the state the following day. If an actor’s schedule is open, they normally opt for several days of 4-5 hour chunks if the role is a substantial one.

Each studio is manned by a director and engineer. The director is the one who gives us the information we to know about the character, and decides the lines should be read. Because we only get to see the scenes of the show that our characters are in, it is up to the director to instantly know what emotion we should be conveying, and any nuance or subtleties that should be included that are not apparent from the scene in front of us. A director needs to know their show inside and out, so watching the entire show several times before casting is not uncommon.

The engineer is, in my opinion, the human equivalent of a unicorn. They are mythical creatures who can turn the mundane into the extraordinary. Alright, maybe it’s not that extreme, but engineers are the people you can thank for the crisp, amazing sound coming from your television. An audio engineer not only records the dialogue, but also removes mouth clicks, pops, breaths, and any other kind of vocal ugliness in real time. They are the ones who can move our lines in the audio mix to fit the mouth flaps, which saves hours of repeating lines, and many heads of hair from being pulled out. Finally, when all of the dialogue is recorded, an audio engineer “mixes” the entire audio track, adding special effects and making sure the balance between the music and every single line is just right.

Then you’ve got the actor, who has been quarantined to the recording booth, a tiny sound-proof room within the studio, who reads the lines from the script. The way we do this is through a dual monitor set-up. One computer has the script, which the director scrolls throughout the session to allow the actor to see their lines. The other television has the show playing with lowered audio, so we can see the mouth movements and try to speak in a way that fits within those movements as closely as possible. The ability to read fast is a must for voice acting, because you may only have time for a quick glance at the script before it’s time to speak. As an example of a recording booth and the recording process, I’ve attached a video of a live recording session from the anime Beyond the Boundary. What you do not see is the scrolling script, but as I am recording I am also watching the same clip of animation.

As you can probably guess, the process of acting for anime is a fairly rigorous one, and very different from stage, screen and even Western animation. Some notable differences in the process is:

1. We may not even know our characters until we step in the booth, let alone our lines.

2. The scripts and our speaking styles need to be modified to fit pre-existing mouth flap animations.

3. We are always replacing an actor, and therefore we never are the sole face for the character.

Each of these factors present their own challenges for English Anime actors. The first two are technical difficulties; they make the job challenging, but a well-written script and honed cold-reading skills allow us to overcome those obstacles.

The third, however, is where I think the hardest part of the job comes from.

Geeks in any fandom are passionate, loyal, and have time after time proven to be one of the most efficient groups of people in getting their voices heard that I have ever seen. In anime, however, this can prove to be an extremely stressful fact for the actors. Being an anime voice actor usually does not provide a stable income at all, let alone enough to be considered an “A-lister” celebrity. It does not provide a person with any fame or recognition outside of a very niche group. Therefore, most actors are just your run-of-the-mill average Joe with perfectly ordinary lives and financial worries like anyone else. Many of us enjoy social networking and browsing the internet like anyone else, because unlike the “A-listers,” we rarely have to wade through thousands of tweets or messages directed at us on a daily basis. This means that when messages are directed at us, the chance that we’ll see them are pretty good.

Because we are have often replaced a prior actor from a different language version of the anime, the success of our performance in a dub is often determined by fans based on how “close” we came to the original performance, even if the determining fan is completely unfamiliar with the language. Because of the differences in the Japanese and English language structure, the difference in vocal chords between different actors, and the cultural barriers that may necessitate jokes or phrases being written differently for the dub, a dub is very rarely an exact English replication of the original material. To some fans, any difference at all is seen as “cheapening” the product rather than as an artistic decision made in hopes of improving the English language version of the show.

This is where that passion and loyalty to a given franchise can be very hard to deal with for actors. I often see actors chastised for fans for having an “ugly” voice, or not speaking in a pitch that a fan prefers, or simply for a fan’s distaste of one line-read. While celebrities in mainstream media have to deal with vitriol on a daily basis, they often do not have the time or personal accounts necessary to actually see it. Voice actors are much more accessible, through both online avenues and anime conventions. The ways in which this chastisement manifests, however, can sometimes be hard to deal with. The following are all responses over dissatisfaction over an actor’s performance in a dub:

“A number of years ago I was at an autograph session and as I was signing autographs for a young man, he said “I’m sorry.” I asked him, “for what?” The young man then said “this is for what you did in Gantz” and slapped me as hard as he could. He grabbed his stuff (which I had just finished signing) and took off running.” – Christopher Ayres (Kei Kurono in Gantz, Frieza in Dragonball Z Kai)

“[I] sent in a VO audition… and my agent called me later to say they thought I wasn’t Asain/Japanese enough for the role. I’m Nisei and full blood Japanese from a long line of Samurai and buddhist priests.” – Tadao Tomomatsu (Mr. Shake Hands Man in Banzai, Detective Furokawa in Heroes)

“I have a high pitched voice and get cast to play 12 year olds a lot. Due to the monotone delivery the characters require I recently read a message from a fan that I don’t deserve to be paid for what I do because I am a failure.” – Caitlynn French (Shiro in No Game no Life, Ai in Sunday Without God)

“I remember we were at Anime USA and this little girl went on for five minutes about how perfect the Japanese voice for Rei was and how much mine sucked in comparison. Then she ended it by telling me to say something in Rei’s voice so everyone could see what she was talking about.” – Amanda Winn Lee (Rei in Neon Genesis Evangelion, Heather Mason in Silent Hill 3)

“I’ve had fans message me to tell me if they ever met me in person they would “punch me in the face” for “ruining their favorite character.” The same girl said I “deserved to die for my terrible performance.” I also had someone on Twitter juxtapose a picture of me next to Predator (sans mask) saying we looked the same.” – Brina Palencia (Ciel Phantomhive in Black Butler, Mad Moxxi in Borderlands)

While this is a very small amount of examples, they highlight a very large source of apprehension and worry when it comes to recording for an anime. And while these are extreme, every actor will eventually deal with harassing messages, personal attacks and an overall air of hatred for each role they complete. Therefore, I believe that the hardest aspect of voice acting for anime is also one of the most crucial; developing the resilience and ability to self-care needed to handle these instances with dignity and acceptance.

That being said, while dissatisfied fans are often the loudest, they are merely a vocal minority. There is nothing better than finding the fans who have been brought even the smallest amount of joy by a project you worked on. I’ve always believed that at everyone’s core there is at least some desire to help others, and providing entertainment has been an unexpected way to do that while I work towards my law degree.

I’ve also been lucky enough to become a huge fan on many of the shows I have worked on. The anime I have had the privilege to watch after completion have had complex storylines and art direction that I never would have expected from a cartoon. The plots run the gamut; action, romance, fantasy, and even horror. While it may not seem up your alley, I think that if you look, there’s something for everyone.

If you’re reading this as a fan of anime, I’d like to take this moment to thank you for the support and loyalty that keeps this industry chugging. If you haven’t seen one before but are intrigued, here is a database of legal sites (both free and subscription services) where you can sample some anime and see if anything piques your interest;

www.legalanidb.com

BB-8 Come Home

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BB-8 in Star Wars The Force Awakens is an endearing droid who rolls right into your heart. In the fine tradition of Lassie Come Home and Benji The Hunted, BB-8 was separated from his owner Poe Dameron, and bravely embarked on an adventure where he made new friends Rey, Finn, Han, and Chewbacca.

The rest of this post contains many spoilers on The Force Awakens, so if you have not seen the movie and want to be surprised, stop reading now.

BB-8_Lost_Droid_Poster

BB-8 was separated from his owner Poe on Jakku. BB-8 set off into the desert, was captured by a scavenger, and rescued by Rey. BB-8 stayed in Rey’s care and was eventually told by Finn that Poe was killed. BB-8 ultimately learned Poe escaped death and was reunited with his master.

BB-8 effectively acted like a lost dog, who was on a final mission started by his owner. Cases about lost dogs are very helpful in understanding the respective ownership rights to BB-8 prior to his reunification with Poe.

Cities across the United States have code sections on lost dogs. For example, in Lauderdale Lakes, Florida, dog owners shall promptly notify the chief of police with a description of the dog, if their dog is lost, strayed, or stolen. Lauderdale Lakes, Florida Code of Ordinances Sec. 10.33.

It is likely cities across the Republic and First Order had similar ordinances for droids. However, unlike dogs, droids can communicate with “bee boops” that people can understand easier than a collie communicating Timmy fell down a well. Droids can state clearly, “That is my owner,” where one usually has to watch a dog for conduct towards a person (which is not always effective). Even then, nothing can prove dog ownership like having DNA evidence, as in a Katrina case where an owner was able to demonstrate ownership of a lost dog. Augillard v. Madura (Tex.Ct.App. 2008) 257 S.W.3d 494, 501.

Rey was tempted to sell BB-8 for food by Unkar Plutt. Rey knew BB-8 had an owner, but did not know whether he was alive or not at that time. Could Rey have sold BB-8 for food?

Conversion is an “act of dominion wrongfully exerted over another’s property in denial of or inconsistent with the owner’s rights therein.”  Lincecum v. Smith (La.Ct.App. 1973) 287 So.2d 625, 627, citing, Hamilton v. Travelers Indemnity Co., (La.Ct.App. 1971) 248 So.2d 617, 618; 89 C.J.S. Trover and Conversion § 1 (1955).

If Rey had sold BB-8, with the knowledge the droid belonged to Poe (even if not by name), she would have committed an act of conversion. In a case where a dog-finder claimed he did not own a dog, but ultimately had the dog put to sleep, the Court held he committed an act of conversion, because the dog-finder exercised “dominion and a right of ownership which he did not legally possess. When he authorized destruction of the puppy there was a complete interference with the owner’s rights, and an obvious conversion.” Lincecum, at *628.

Selling BB-8 would have been “complete interference” with Poe’s ownership rights, which ultimately would have resulted in BB-8’s destruction. Luckily, Rey had a clear moral center and was not bribed into committing an act of conversion for food.

After believing Poe had been killed, Rey and Finn set out to return BB-8 to the Resistance. While the goal was to return BB-8 to the Resistance for the data the droid carried, this arguably could have begun establishing Rey’s ownership of BB-8, if Poe was indeed dead. Case law holds that when a finder of a lost pet who made a reasonable effort to locate the owner, responsibly cares for the animal over a reasonably extensive period of time, then the finder could acquire possession of the lost animal. Morgan v. Kroupa (1997) 167 Vt. 99, 101.

Rey cared for BB-8 over a short period of time (the story had to be only a couple of days at most) and made reasonable efforts to return BB-8 to the Resistance after believing Poe had been killed. If Poe had owned the droid himself and did not have any heirs to inherent BB-8, one could argue Rey had become the owner of BB-8. Poe’s estate would have a valid claim to BB-8, as Rey only had the droid for a short period of time, and the sale of BB-8 could have been used to settle any estate debts. However, since Rey returned BB-8 to the Resistance, thus reuniting BB-8 with Poe, this argument is moot, as the droid was returned to his proper owner. Just like Lassie.

LAssie-BB-8