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“The Same Eyes in Different People”:  The Heroic Cycle, the Sequel Trilogy, and the Star Wars Saga

Thirty-six years ago, a movie cut from the image of its protagonists—together again, alive, smiling, and dancing—under the wavering torchlight of hundreds of bonfires and surrounded by the celebratory revel of a hundred sentient bear-creatures to a shout of familiar end credits music and blue lettering.

And, with that, the Star Wars movies were over.

Done.

There was never going to be another Star Wars movie again. The heroes had suffered but had triumphed. It seemed that good had conquered and even converted evil. Two characters were in love and another had found his place in the universe. Nobody was dead except the bad guys, and even then, one of them had redeemed himself in the process. The audience was satisfied and dissatisfied in equal measure. Everything was as it should be.

We had attained as close to a happily-ever-after as we, and the characters, could hope for.

Thirty-six years and five more saga films later, that’s not the case.

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Press B to Join the Dark Side – On Jedi Gaming in the New Canon

The first gameplay footage from Jedi: Fallen Order dropped recently, and it was…well, if I had seen it when I was twelve, I would have been very excited for this game. Most of the issues I have are things that you can see anywhere else on the internet, issues with out-of-date mechanics and unengaging combat. Instead, here, I wanted to talk about something different, how the game seems lackluster as a Star Wars story.

The developers have made a few things very clear about the game. It is a linear, story-driven, Jedi action adventure RPG about a Padawan who survives Order 66. A story we’ve all heard before—but just because you’ve heard it before doesn’t mean you can’t explore it from a new and exciting angle. You could explore the conflict between the dark and light as it relates to what he must do to survive conflicts with his Jedi teachings.

Except, they aren’t. The devs have said there is no light/dark moral system. There are no consequences to running into every situation swinging your lightsaber like a madman. It sounds like the game pretty much forces you to play that way. The devs also say they liked that the character was on the run because it meant that they could have you go into situations and kill without thinking about it. So rather than using the moral dilemmas involved in being a Jedi forced to fight stormtroopers who are essentially lawmen doing their jobs, we ignore that and go straight to being an indiscriminate killer.

The thing that puts me the most off of this game is the use of the Force in the trailer. For someone who never even completed their Padawan training, you do some crazy things with the Force: picking people up with your mind; running faster than blaster fire; even stopping blaster bolts in midair. Abilities we have seen used rarely, and when they are used, it’s by incredibly powerful individuals.

So why does this game have a Padawan that is freely using powers that most Jedi Masters struggle with? Simple, the game is a power fantasy. Most video games are power fantasies, with the story written around the fantasy rather than a story being written, then a game built around the story. There is nothing wrong with this; I’ve never complained about any game doing it before, so why does it rub me the wrong way when this particular game is a power fantasy? Is it possible that the Jedi and the Force are anti-power fantasy?

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Yrica Quell’s Defector Shields: How Alphabet Squadron Plays With Expectations

The introduction of this piece is spoiler-free. If you don’t want details of Alphabet Squadron a warning will let you know when to stop.

We think we’ve seen this story before. But we haven’t.

There are certain types of stories in Star Wars that seem to recur again and again. Stories of Imperial defectors joining the Rebellion / New Republic tend to be among the most common of them. Even since the continuity reboot of 2014, we’ve seen stories of defectors more than once. Zare Leonis, Thane Kyrell, Sinjir Rath Velus, Alexandr Kallus, and Iden Versio were all Imperial defectors. It’s a type of story we know well: a character believes in the Empire and its mission, comes to a realization or crisis of conscience (often during an atrocity), and joins the good guys with their past seemingly forgotten and behind them. The stories play out a bit differently each time and the specific details vary – but the broad strokes are the same.

Those small differences do matter. In a galaxy-wide Empire, we would figure (or hope) that it’s a common thing for people in the Emperor’s service to recognize the error of their ways and defect. The details affect how the story is told, and even why it’s told. Famously, Battlefront II’s promotional materials led us to believe that Iden Versio and her Inferno Squad were helping to establish the die-hard First Order. When the predecessor novel Inferno Squad underscored the idea that Iden and her group were Imperial loyalists, we were surprised that Battlefront II would end up being a story about defection from the Empire. Rather than being “gotcha” subversion for the sake of a twist, it invited the reader to look again at the novel and look at the seeds that had been planted; it turned out that the story was less about defection and more about the whys and the hows and the what-nexts of defection.

Alexander Freed’s Alphabet Squadron examines all of this – the ideas and expectations we have for Imperial defectors and the idea of subversion of expectations less for its own sake and more for telling a more interesting story. Beyond that, Freed does what Freed does best – he grounds the story in reality and causes painful realizations through the characters’ emotional journeys. Sure, defection is common – but what does that mean in a post-Endor, post-Operation Cinder galaxy where the Empire really has outstayed its welcome? And just how trusted would an Imperial defector be by those who the Empire has harmed not just once, but many times? Is there such a thing as too little, too late?

Former Imperial pilot Yrica Quell is our window into all of this – we see things from her perspective, and from outside her perspective. She’s the leader of a fighter group, but she’s not the unifying squad leader that we’re used to in pilot stories. She holds herself apart – both because of her past and because of her actions, and that what makes her interesting. Alphabet Squadron is a story about many things – but I want to dig most deeply into Yrica Quell and the topic of Imperial defectors.

Article will contain spoilers after this point! If you have not yet finished the novel and do not wish to be spoiled, come back to the rest of the article later!

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The Asexual Awakens – An Interpretation of the Journey to Adulthood

“Every Generation Has A Legend”.

That we fade from Rey to these words in the Rise of Skywalker teaser is of cultural significance: that a woman would define a generation. In the exhibit hall at Star Wars Celebration, the declaration drew a thundering howl of approval from the audience. However, I found myself affected for another, more personal reason. When examined through a queer lens, Rey’s journey from “no one” to “legend” can be interpreted as the acceptance of one’s aromantic and asexual orientation.

The path of the Jedi is one that’s long been associated with adulthood, and the burgeoning maturity of our leading characters. By their powers through the Force, we see our own adolescent journeys amplified. All of our emotions and choices – for good and ill – are made physically manifest as these characters form into Jedi or Sith, the adults they will become.

Most of our heroes actively pursue their paths of dark or light. Those that need extra prompting are usually granted it by the loss of a parental figure, frequently by the death thereof. It’s a metaphorical shedding of childhood to take their first steps into the larger world of adulthood.

For Rey, this aspect of childhood was shed long before we meet her in The Force Awakens. Yet she doesn’t immediately embrace the path of the Jedi laid out before her. She rejects it to the point of running away from the first offer of a lightsaber. This carries into other areas in her life: avoiding job opportunities, the chance to have her own ship, and other milestones that could define her adulthood. She keeps trying to press pause on her own life.

In our world, society likewise marks our paths to adulthood. We have achievements like driver’s licenses, certain levels of education, employment, or housing. Emotional milestones like one’s first love or sexual awakening which lead to socially-treasured events such as marriage or the loss of virginity. The lack of any of these is usually interpreted as an adulthood on pause, the indicator of something childish, repressed, or stagnated.

Rey keeps delaying her journey as a Jedi because she doesn’t see herself as one. It’s how I once felt I was holding myself back from maturity because I wasn’t matching the narrative of adulthood that I was watching play out around me. It’s how I felt before I embraced my identity as aromantic and asexual.

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“This is the beginning” – Hera Syndulla, Alphabet Squadron, and the Road to Jakku

This piece contains minor spoilers for the novel Alphabet Squadron.

For folks who follow me on Twitter or know me from the Jedi Council Forums over at TheForce.Net, one of my obsessions…err…hobbies in the new canon has been trying to make sense of the final year of the war between the Rebel Alliance-turned-New Republic and the faltering remnants of the Galactic Empire. Four years ago this September, I started a discussion on this critical year, the “Endor to Jakku” period. Thanks to the ever-expanding new canon, we are slowly but surely filling in the gaps. We’ve come a long way since Lost Stars and Shattered Empire gave us our first hints at this period. Our first real deep dive was in the Aftermath trilogy, but even that created as many questions as it answered. This week’s release of Alphabet Squadron by Alexander Freed answers many of those questions, by hearkening back to the earlier reference in Shattered Empire of an Imperial counterattack after Endor: Operation Cinder. This galactic atrocity would have far-reaching repercussions, including one that was presumably unintended: the almost overnight growth in power, appeal, and reach of the fledgling government known as the New Republic.

Before jumping into the topic at hand, let’s remember the status quo immediately prior to the Battle of Endor. The Alliance to Restore the Republic was in dire straights. Despite victories at Scarif and Yavin, major losses in the Mid Rim Campaign, at Mako-Ta, and at Hoth had whittled the Alliance down and forced them to flee to the edges of the galaxy. They held no territory—major allied worlds like Chandrila and Mon Cala were under blockade and they were fighting a losing war of attrition against the Empire. The threat of the second Death Star was enough that the Alliance risked everything to take it down. The scattered warships and fighter squadrons were assembled at Sullust, concentrating the entirety (or nearly that) of the Alliance’s fighting strength. We all know the story of the Battle of Endor, so let’s now jump to the day after. The Alliance’s assets are still the same: a roving fleet and a quasi-government-in-exile. Admirals and generals are faced with determining their next military move, while Mon Mothma and her council of former senators are faced with the nearly impossible task of laying the framework for restoring democratic rule to a galaxy oppressed for two decades.

Let that sink in. The Alliance, without solid supply lines, a main base, or actual territory, needed to seemingly overnight start a campaign to liberate the galaxy and start a new Republic. If C-3PO was asked, I’m sure he’d say that the odds of success were almost incalculable. The next subsequent twelve months would be a whirlwind of events. The New Republic, for all it’s heroic ideals and victories, would benefit more from events outside of its control than those it dictated.

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