Starkiller: Superweapons and the Sequel Trilogy

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Buried in the Force Friday blitz at the beginning of this month was the first The Force Awakens-related update to StarWars.com’s Databank section. Naturally, very little new information actually came out of the new entries; many didn’t include pictures, and some of the character entries were nothing but the same one-sentence bios from the back of their action figure cards.

One big new piece of info did show up, though—or rather, if you follow the spoiler reporting, a confirmation of one of the oldest rumors: there’s a superweapon on the table.

I actually stopped reading spoilers a long time ago, but even I had heard bits and pieces to this effect; and sure enough, the exceedingly minimal entry for the First Order’s Starkiller Base nevertheless deigns to include the apparent in-universe reasoning for its name:

“An ice planet converted into a stronghold of the First Order and armed with a fiercely destructive new weapon capable of destroying entire star systems.”

While certain reporting (and certain memes) has tended to paint the First Order as an upstart group of ne’er-do-wells rather than a serious galactic power, the ability to destroy an entire star system? Well, that changes the equation. Superweapons have a mixed reputation among Star Wars fans, though; the Expanded Universe is known for adding a whole bunch of ’em to the lineup (including the Sun Crusher, which did exactly what the Starkiller is alleged to do and was totally invulnerable besides), and even many movie purists will tell you that concluding the original trilogy with a second Death Star wasn’t exactly George’s Lucas’s most creative idea. So I put the question to the staff: is this a mistake? A ham-fisted attempt to replicate the feel of the OT? Or are superweapons a crucial part of Star Wars’s magic formula? Read More

The Pitch – Space Travel is For Suckers

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Alongside the now-confirmed Han Solo movie and the still-theoretical Boba Fett movie, one of the most perennially-rumored spinoff films is one (or three!) centering on Obi-Wan Kenobi. While such a movie could conceivably be set during the Clone Wars thanks to Ewan McGregor’s annoying eternal youthfulness, speculation generally assumes the movie would be set during his exile on Tatooine (for the record, Ewan is currently 44, which in Obi years puts him at about six years after Revenge of the Sith). Speculation also tends to assume, at least when I’ve seen it, that the story would involve some sort of dire mission pulling him away from Tatooine for a brief time.

Leaving aside the conceit that anything could be important enough to pull him away from Luke, and leaving aside the fact that rather than twiddling his thumbs, the one thing we know for sure is that Obi-Wan spent that time communing with Qui-Gon and Yoda and learning how to transcend death (which was still a distant second on his list of priorities after safeguarding Luke), it bugs me when people take for granted the idea that an Obi-Wan movie would automatically require him to leave Tatooine, because for all its ostensible overuse in the film saga, Tatooine is really interesting.

Look no further than John Jackson Miller’s Kenobi, a book dealing with that selfsame period that manages to restrict its action not just to the one planet, but to an area small enough to fit on a handy-dandy map. Kenobi, the first novel whose release Eleven-ThirtyEight had the privilege of covering, was a rousing and heartrending adventure story with more shades of the traditional western than A New Hope could’ve, ah, hoped to squeeze into its running time—and not for one second does the reader find themselves wondering “yeah, but what’s going on on Coruscant right now?” Read More

The Downfall of the Star Wars Film Universe

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The Effects Wizards

The wonders of modern visual effects have brought some terrifically imaginative and amazingly realistic things to the screen in the past couple of decades. Ever since Jurassic Park and Terminator 2 let the computer genie out of the bottle, the limits to what can be portrayed on screen have shortened more and more each year. Since the turn of the millennium, technology has advanced to such a point where just about any world, creature or event can be created or re-created in lifelike detail, no matter how outrageous it is. It’s certainly hard to see how a good number of the modern blockbuster films most of us see each summer might have been made just twenty years earlier. They might have been made, certainly, but they would have looked a lot different.

As amazing as this has been for those who love movies, it has also had an unfortunate retroactive effect on films done before this time. Read More

Entertaining Insanity – A Review of Star Wars: Dark Disciple

—–WARNING, VAGUE SPOILERS AHEAD–—

darkdiscipleThe Clone Wars dominated the landscape of Star Wars media for a good ten years or so, from the release of Attack of the Clones onward. The once-mysterious conflict referred to by Obi-Wan was fleshed out to an almost absurd extent. Once the Disney era of Star Wars publishing began, though, that focus shifted back toward the original trilogy era, leaving fans used to the focus on the prequels feeling left out. Then Dark Disciple was announced, and the combination of author and subject matter made most fans throw up their hands in either jubilation or utter despair. Christie Golden’s only contributions to Star Wars before now were in the Fate of the Jedi series, which has a rather mixed reputation among many readers. Not having read them myself, I sought to go into this book with as open a mind toward Golden as possible, since I try not to assign blame to authors for elements in books that are, often, works by committee to some degree.

What I did not expect from Dark Disciple was how much it resembles its other major building block (and something I do have familiarity with): scripts from Star Wars: The Clone Wars that never made it through production due to the show’s cancellation. Read More

Consequences – The Fate of Those Who Rebel

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Ben: A number of TV shows, especially the successful ones, have a problem with the status quo. Once a show is established, the easiest thing to do is leave things as they are, repeating a successful formula ad nauseam until the ratings stop coming in. This is especially true about typical kid’s cartoons, where the stakes are microscopically low and conflict is played for laughs. A list of examples would take up most of this page. But right from the beginning of Season Two, Star Wars Rebels proves that it is not one of those shows.

“Siege of Lothal” is an intense and dramatic story about the consequences of the actions taken and done through the show’s first season. The heroes thought that they had won, if not a war, at least a very great battle. They had defeated Grand Moff Tarkin, destroyed his flagship, saved Kanan’s life and united with a larger rebellion than any of them had known even existed. But the realities of what little good their action had actually done, how little they had accomplished, came crashing back down on them throughout the events of the hour-long season opener.

How willing Rebels is to shake up and alter its own status quo has been subtly working its way through the first season, with neither characters nor plots staying stagnant. But there has not been a point where more has changed in such a short time as this two-parter. The foremost agent of these changes is, of course, Darth Vader, a foe far above and beyond anything that the Ghost’s crew has ever faced. He wipes out their allies, destroys their hiding places, and sends them on the run to somewhere, anywhere that is not Lothal. There is nothing they can do to stop him, or even slow him down, they can only run for their lives and hope that he does not follow. Read More