He’s More Machine Now Than Man

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In our first article in this series, we discussed the possibilities of what might occur should organics and their most trusted and relied upon synthetics come into conflict. Today, we’re going to turn the tables around and reverse that premise: what happens when we fuse man and machine to an even greater degree than ever before? One of the most integral elements of Darth Vader’s character is that he is a cyborg: a sinister and inhuman blend of flesh and metal that serves as the physical representation of his inner corruption by the dark side (not everyone can have glowing yellow eyes like the Emperor, after all).

When Luke Skywalker loses a hand, his is replaced by a pleasantly fleshy quintet of fingers that is, to our knowledge, identical in appearance and function to its predecessor. There’s clearly a galaxy of difference between their prostheses, but how often do we actually think about that contrast, and what it means for the universe?

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So You’ve Heard Yourself A Rumor

suncoverIn the first round (volume? saga?) of So You Think You Can Internet, I offered my time-tested advice on how to conduct oneself amicably in an internet debate. Now I’d like to move on to another area with which I’ve got a bit of experience: rumors. At first glance my target audience here might seem limited to people who actually run websites of their own, but I’d say it’s just as important for a reader to understand these things as for a writer or publisher.

When I founded the Unofficial New Jedi Order Homepage almost exactly fifteen years ago (ugh), the tone of fandom regarding the series was not altogether unlike what we’re seeing with Episode VII now—the Expanded Universe was regarded as stagnating, and suddenly the novel license was in new hands, with rumors of a drastic new storytelling direction on the scale of the Original Trilogy. The first excerpt from Vector Prime released in the summer of 1999 featured Han’s reflections on an uncertain galaxy where no one was safe; it didn’t come right out and say it, but the message was clear: someone was about to die. Read More

Clone Wars Character Autopsy: General Grievous

This is the first in what (I hope) will be a semi-ongoing look into the cast of this era, specifically using the massive amount of material provided by The Clone Wars TV show to do an autopsy of sorts into the portrayal and development of characters through the show’s length. Why am I just using the TV show and not all of the rest of the Clone Wars EU? Because TCW, like it or not, is the only official canon portrayal of characters and events that existed in the era now barring the films framing it. Even the Genndy Clone Wars series, which debuted some of the war’s major players, was heavily stylized and exaggerated compared to both TCW and the movies even before its continuity was called into question. This article assumes that the events of the cartoon happened, but not necessarily precisely as portrayed. TCW strikes a balance between the ideas and plots George Lucas had in mind for the era and elements of the EU that came before it, making it the most accurate history of the era in its current state.

With all of that said, let’s talk about General Grievous.

As the hype for Revenge of the Sith grew, Grievous was advertised and hyped along with it. It was Grievous’ skeleton-like visage that greeted fans upon the reveal of the title of the movie he would appear in. In his initial (both in and out of universe) debut in the Genndy series, he was a stoic, dreaded presence not unlike those in a slasher movie, single-handedly killing or seriously wounding several Jedi and only driven off by a barrage of laser and missile fire from an ARC trooper squad. His fighting style in that appearance was graceful, flowing, more like a dancer than a brute, including balancing on one foot so he could hold a third lightsaber between his mechanical toes, and he spoke only long enough to assure the Jedi that he would give them the honor of a warrior’s death. The hope for the character was high. Read More

Escape Pod: Noghri

How will we fill the roles of assassins and hit men in the new Star Wars movies? Mandalorians, Imperial Intelligence agents, and other unsavory elements have their place, but perhaps we might try something entirely different. The EU has one answer- the Noghri. Silent and stealthy, hidden thoroughly away from the rest of the galaxy, and astoundingly effective, they remain a mystery throughout much of their first appearance and bring a fascinating backstory. The Noghri are an excellent plot hook to tie together old and new Star Wars, bringing back the shadow of the Empire in a galaxy recovering from war.

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We first meet the Noghri when one of them, guarding Grand Admiral Thrawn, scares Pellaeon from the shadows. They are silent, stealthy assassins, described as looking rather unnerving and speaking in a gravelly voice. All we know of their history is that they had worked for Darth Vader and are now Thrawn’s personal bodyguards, quickly tasked with capturing Leia Organa Solo and delivering her to the Empire alive. Her befriending them gives us insight into what little we know about the Clone Wars at the time of Dark Force Rising, and their devastated homeworld goes from a potential sign of Imperial benevolence to a somber reminder of the might of the Empire. The Noghri will likely never be able to clean up their poisoned homeworld, and they instead join with “Lady Vader” as her faithful bodyguards. They remain in the position throughout the rest of the EU, with various Noghri watching over Leia and Han and their children. Though they are not free from controversy- they are, after all, the former personal assassins of Darth Vader- they are endlessly useful to the Solo family. Read More

In Defense of Cheesecake

Cheesecake (noun)

1. A pie made of sweetened and flavoured cottage cheese or cream cheese, eggs and milk on a crunchy base.
2. Imagery of one or more scantily clad, sexually attractive persons, especially young women; pin-ups.

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Often in the course of our diversity discussions at the Jedi Council Forums, people will object to what they see as an attack on the phenomenon of male heterosexuality. If people complain about the objectification of female characters (or all too often, characters who exist solely to be objectified), that’s taken as implying that there’s something wrong with finding a given type of imagery sexy, and that men should feel bad about it.

Of course, this isn’t the case—and complaints of that nature generally fall into the category known as “Not All Men” objections, in which people ignore the precise substance of a complaint and choose to argue against gross overstatements instead. But I’ve seen this particular flavor of debate come up enough at this point that I thought it would be helpful to demarcate what exactly can be considered, essentially, “good sexy” and “bad sexy”. Read More