It’s no secret that when it comes to Star Wars, Dave Filoni is not shy about putting the “fantasy” in “space fantasy”. Between the numerous Tolkien allusions to interviews discussing his love of Miyazaki, Filoni has always placed a high importance on the fantasy elements of the Star Wars universe—namely, the Force. Both The Clone Wars and Rebels were not afraid to mix the more standard military stories with highly fantastical detours to strange and bizarre worlds that seemed to upend everything we knew about the Force.
And it’s therefore generally met by the fandom with a not-insignificant amount of skeptical eyebrow raises. While Yoda’s encounter with the five Force priestesses in the TCW Lost Missions was more or less well-received, the Mortis arc was firmly a “love it or hate it” storyline in the fandom, and Ezra’s experience in the portal universe is looking to be similarly divisive. It’s weird and confusing and doesn’t make a lot of sense at first blush…but I’d argue that’s exactly why Dave Filoni has the best approach when it comes to depicting the Force.
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At this point in Star Wars history, there has been a multitude of stories centered around the Clone Wars. From the latter half of the prequel trilogy to the eponymous television show, we’ve seen how the conflict embodied the end of the Republic, engineered by Palpatine as part of his final descent into totalitarianism. However very little attention is given to the issue that kickstarted the whole war: a secession movement known as the Separatist Crisis. Despite being talked about in the opening crawl for Attack of the Clones, it’s barely mentioned after that and rarely have we seen anything discussing how the galaxy came to that point in the first place.
The Clone Wars was an excellent TV show that did a fantastic job adding needed dimension to the prequel movies. However, it remains disappointingly one-dimensional in its depiction of the Separatists. With the exception of Mina Bonteri, they’re overwhelmingly shown to be uniformly evil almost to the point of caricature. And while this fits with the pulp style that TCW affected, it was still a missed opportunity to bring some depth (and truth) to the line from Revenge of the Sith’s opening crawl that “there are heroes on both sides.” With the recent trend of injecting more nuance in the franchise (from the multitude of Imperial POV novels to Rogue One and Saw’s Partisans) it’s time to extend that into the Separatist era.
Granted, it seems rather odd to advocate for a return to the prequel trilogy when the franchise is in the middle of putting out sequels that take place fifty years later. But a Separatist novel is an excellent opportunity to tie the sequels in with the prequel era because it would provide important context for the New Republic.
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—this piece contains major spoilers from The Last Jedi—
“Luke Skywalker has vanished.”
The opening line of the crawl for The Force Awakens was like a gut punch to Luke fans everywhere. And not only was Luke gone, he’d apparently gone missing voluntarily, as a result of Ben Solo falling to the dark side and becoming Kylo Ren. For two years the fandom theorized not only on why Kylo became evil but why Luke Skywalker, Rebel hero and Jedi legend, has apparently given up. In The Last Jedi, we finally get those answers. Luke takes Yoda’s advice to “pass on what you have learned” to heart, but a split-second mistake on Luke’s part brings the whole thing crashing down. And as a result Luke decides to exile himself on a remote island and leave no trace of his whereabouts. By the time Rey finds him, he’s an acerbic, sarcastic hermit who in so many rude ways tells her to leave him alone and that he refuses to help Leia fight the evils of the First Order.
This seems a sharp contrast to the bright, shining figure we see in the original trilogy. Luke had hardships and made decisions that backfired on him, but he was never one to run away from a problem. So at first glance this seems like a long string of extremely out of character moments meant to create drama and difficulty for Rey and Kylo. However, when taking a deeper look at Luke’s character and personality in the original trilogy, his circumstances in TLJ are a natural extension of his character. » Read more..
This article contains some plot spoilers after the intro
Leia: Princess of Alderaan is a true coming-of-age novel about one of the franchise’s most iconic characters, and seeing a sixteen-year-old Leia struggling to find her place in the world makes for a poignant and emotional story. We’ve seen Leia as the fiery leader of the Rebellion who’s wise beyond her years. We’ve seen her as the somewhat more jaded senator of the New Republic. And we’ve seen her as the Resistance general, who brings gravitas to every scene she’s in. But this Leia is younger and more untested. She is unsure of her place in the galaxy, both as the heir to the throne and as a person in her own right.
Last Friday, Jay did an excellent job detailing Leia’s struggle to make a difference in the lives of those hurt by the Empire. And even though the reader knows what lies in store for Leia, that doesn’t make it any less emotional to see her trying to do the right thing against a system she knows is unfair, to see her anguish over the sudden distance her parents are keeping from her, or to see her try to establish her own identity outside of “future princess.” It’s Leia at her most relatable, for who among us has not felt unsure about our place in the world or the identity we want to be?
But perhaps the greatest strength of the book is the depiction of the relationship Leia has with both her adoptive parents. We’ve seen plenty of Bail Organa in Star Wars before; Leia mentions him as a part of her plea for Obi-Wan’s help, he plays a major role in Revenge of the Sith, and has popped up in several books as well as the Rebels TV show. We have ample knowledge of how close he and Leia were and, of course, we know he trusts Leia with his life. But so far Breha hasn’t gotten nearly the same treatment; we know almost as little about her as we did when she first appeared on screen almost fifteen years ago. Fortunately, Claudia Gray stepped into that gap and wrote the mother/daughter story that Star Wars has sorely needed.
(some plot spoilers under the cut)
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This is a rebellion, isn’t it? I rebel.
With one line from the first trailer for Rogue One, Jyn Erso established herself as something quite a bit different from the movie heroes we’d seen before. She was less noble freedom fighter and more scrappy loose cannon. But despite the immediately iconic nature of this line, it didn’t make an appearance in the final film. Nor, for that matter, did most of what we saw of Jyn’s personality. Rather than the antihero we expected, whose fiery bluster covers up a near lifetime of pain and anger, we got someone a little bit softer around the edges, whose main trait seems to be indifference.
Rebel Rising, by Beth Revis, fortunately stepped in to give us the hard-edged antihero promised by the movie trailers. Not only did it build off the movie (and excellent novelization by Alexander Freed) to develop Jyn, but it gave her a harder, scrappier edge than any protagonist we’d yet seen in a Star Wars film. And more importantly, it made Jyn a far more morally ambiguous (and occasionally, straight up awful) person.
Reportedly, part of the reason for the infamous reshoots on the film was to make Jyn less abrasive and more empathetic. Many of the scenes from the trailers hint at this; from General Draven’s laundry list of her crimes, to her mocking “yes sir” and, of course, her defiant “I rebel.” And that early version of Jyn still survives in the novelization, giving us a glimpse of what could have been. Her early scenes on Yavin and with Cassian show a woman who openly mocks authority, is ready to physically fight perceived threats at a moment’s notice, and whose biggest goal is just to do the job with as little fuss as possible so that she can be left alone. We see the morally gray figure Jyn was originally conceived as. However the final cut of the film showed a Jyn with a much less fiery personality. Instead of being hostile and antagonistic and actively insulting Cassian and the others, she comes across as more aimlessly indifferent to the struggle at large. In other words, her fierceness was cut to make her more likable.
But why should she have to be likable?
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