Happy Anniversary, Wookieepedia—Time to Start Over

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For those of us old and crotchety enough to remember the dawn of Wikipedia, certain guiding principles remain hardwired to the concept, no matter how much the world of open-source encyclopedias has evolved in the intervening years. “Be Bold“, for one—in other words, when in doubt, go ahead and make the edit. A flawed addition is better than no addition. Another is Disambiguation, which is probably less well-known as a principle than it is in practice, in the form of articles like Mercury (element) or Razor (clone trooper). Another concept that brings me back to those early days is Instruction Creep: the bureaucratic process by which rules, procedures, best practices, and so on are slowly codified in response to new circumstances and specific incidents, eventually becoming overwhelming to new users and obscuring the true goals of the organization in question. Wikipedia’s page on Instruction Creep cleverly uses the picture of kudzu vines that begins this article as a metaphor for this process.

Over on Wookieepedia’s version is the following text: “Wookieepedia is not supposed to be bureaucratic. Procedures are popular to suggest but unpopular to follow, due to the effort required to locate, read, learn and abide by them.” Of course, the wook also takes great pains to clarify that it is not Wikipedia, and just because something is policy at one site doesn’t mean it should be taken for granted at the other; nevertheless, the “avoid instruction creep” page remains. It continues: “our contributors are volunteers, and will simply go away if the policies are too confusing or too difficult for them to follow.” Read More

Bringing it Back: The Parallel Plot

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The ideas of parallelism and the end of a story referring back to a way it began are, of course, hardly new or innovative concepts. Many great books, films and other forms of media close much the way they open, be it visually, thematically or even straight-up repeating themselves. A few weeks ago, I was make aware of a superb (and lengthy) article/essay that speculated on the circular storytelling model that united the Star Wars film saga into one united narrative. Whether you agree that such a pattern was George Lucas’s intention or not, the idea of parallelism is riddled through the Star Wars universe, a franchise where references to past material is expected far more than a wholly original concept.

When Kanan was captured, it meant that the Ghost crew had a decision to make: leave Kanan in the hands of the Empire, laying low somewhere until the pressure brought on by Grand Moff Tarkin blows over; or come up with some way to track him to where they are holding him and stage a daring Death Star-style rescue. It was a test of loyalty for the entire crew—loyalty to Kanan measured against loyalty to their mission; loyalty to their crew measured against loyalty to the greater good of Lothal, the sector, even the galaxy as a whole. Read More

Insert Coin to Continue: The Future of Star Wars and Video Games

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It is an indisputable fact that Star Wars is, first and foremost, a film franchise. But while the movies will always be the most important part of the galaxy far, far away, it should not be forgotten that it also encompasses countless tie-in novels, comics, toys, and (the part relevant to this article) video games.

Beginning with a scrolling shooter based on The Empire Strikes Back released for the Atari 2600 in 1982, Star Wars games have been released in almost every genre you can imagine – from real-time strategy to first-person shooters to racing to ecosystem management (no, really). While the repercussions that the announcement of the sequel trilogy had for the Expanded Universe are by now well-known, we still have not yet seen the results of the video game license changing hands from LucasArts to Electronic Arts.

That there will be significant differences is inevitable: much time has passed since the golden age of Star Wars video games, with only a handful of notable titles released after (what we had assumed was) the saga’s completion in 2005. The era of the expansion pack is over, and downloadable content (DLC) is now the order of the day. Demos, too, have gone the way of the dinosaur.

Digital releases are the norm – and Steam the undisputed king among distributors. Popular new games have come, upended the status quo and redefined gamers’ expectations for entire genres, and gone. And so the question we now have to ask ourselves is this: what examples should Electronic Arts look to when developing new Star Wars games to ensure that they are as (and more) successful as their predecessors?

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No Underwear in Space: Costume Design in a Galaxy Far, Far Away

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As an entire profession of costume designers would be more than happy to tell you, how you dress your characters is just as important as what you script them to say. In some ways, perhaps even more important. There’s even an Academy Award for it (which A New Hope won in 1977, among numerous other accolades – the only science fiction film ever so honored, to the best of my recollection). Movies, television, video games, and comics are all extremely visual mediums by nature: unlike a novel, you can’t just let your audience’s imagination fill in the blanks.

Every single detail, down the last button, has to be accounted for, all the more so if you’re dealing with a work of science fiction or fantasy. The more significant a role a character has, the more vital it is that you get their outfit just right. They’re your main selling point, after all: the face you’re going to plaster all over your comic covers, the costumes the stores are going to stock their shelves with come Halloween, the action figures that the children will clamor for when Christmas arrives. Get it wrong and, well, there’s a very good reason Zardoz didn’t become a franchise and comic book adaptations stopped using tights.

In the wonderful world of fiction, you truly are what you wear. Nobody simply has poor taste in clothes, not when they have an entire costume department responsible for painstakingly dressing them, and concept artists and designers behind them who were hired specifically to design clothes layered with meaning and symbolism. But this process is not always an easy one, for when you’re dealing with a setting as far removed from our own time and place as Star Wars, the wardrobe department will find themselves facing an entirely new and unusual set of challenges.

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Upping the Ante: Creating Drama without Being Over the Top

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Ben: Rebels has been a show made up of character moments and slow burning plots thus far. Many episodes have avoided doing any action that seemed massive or important in the long run in favor of dropping hints about things outside of their scope and giving us character moments and development. This storytelling strategy has been paying off in recent weeks as a number of those hinted plots have started to tie together in close succession, each one bringing more drama to the characters we have gotten to know without seeming overwrought or premature.

The storytellers have, in essence, been playing poker with the audience. Each week they play a hand, laying small bets, a plot point here, a character moment there, while teasing a much larger pile in their corner of things yet to come. From time to time, they have raised the stakes, pushing more “chips” into the pile, but not going so far as to exhaust their entire stash of hints and ideas, or to push the audience into giving up the game. Teasing a story out is a hard line to walk for any show; say too much and the drama fizzles early, say too little and the audience gets frustrated and bored. Read More