Character Building and the Art of Filler

rr-zebezra

“You did all this…for fruit?” “No! …okay, maybe a little!”

When a TV show is written, the staff has a choice to make: How will the show find its balance between character development and the plot? The Clone Wars was a show where the events of an episode held precedence over characters. Not that there were no character moments or any development, but the story came first, especially early on when summaries of episodes could be “Godzilla IN SPACE” or “the Seven Samurai WITH BOUNTY HUNTERS”. Whatever concept the TCW writers wanted to put on screen, they put there, regardless of whether it was a good fit for the characters drafted into various roles. While there were episodes that got away from this, it’s a tendency that colored the show’s entire run.

Another decision, one more specific to action-oriented media, is the stakes of a given story. From episode to episode, something or other may be at risk or hanging in the balance. Is it the fate of a world, or merely the well-being of a few people? TCW tended toward the dramatic side, where the stakes were high, be it to save hundreds of lives, catch a dangerous fugitive or stop a superweapon. While there were some low-stake episodes that focused less on the action and more on character interaction, they became fewer and fewer as the show moved into its later seasons and more driven, multi-part stories took over. Read More

The Star Wars Expanded Universe: The Pithy Reader’s Companion Vol. IV

Longtime readers may remember my three-part Pithy Reader’s Companion series from early in this site’s existence; for the unfamiliar, it worked like this: over on the Jedi Council Forums, I ran an ongoing thread called One Sentence or Less, wherein participants would summarize assorted works from the Expanded Universe in one sentence—the “or less” part was half joke, half gentle nudge toward brevity, but it didn’t always work out that way; ETE staffer Lucas Jackson’s synopsis of The Swarm War actually held the record (until now, that is) at 242 words, all still technically one sentence.

Anyway, readers would vote for their favorites via the forum’s “like” system, and after two days or so, whoever had the most likes won the round. After about a year, I compiled all the winners into the three-volume Pithy Companion, and there was much mirth to be had. The thread went on under the guidance of my fellow poster known as @instantdeath, and while activity has sadly waned in recent months, enough new winners emerged that I thought I’d use the occasion of the one-year anniversary of the original series of articles to catch back up with it, in Volume IV of the Pithy Companion. While each part of the original series focused on a third of the Star Wars timeline, this time I’ll cover basically the whole shebang, within the loose confines of “stuff I didn’t get around to in the first year”. Highlights include the the Knights of the Old Republic games, Fate of the Jedi, and the entire—yes, entireJedi Prince series, perhaps best known for its first book, The Glove of Darth Vader. Enjoy!

 


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Droids: Slave or Sentient?

rr-droids

Ben: What is a droid? What constitutes intelligent life? Where does programming end and independent thought begin? Themes like these have been tackled in just about every major science-fiction franchise since the early part of the twentieth century. There are exceptions, of course, but one of the most surprising ones is our own Star Wars. Considering the massive presence of droids on-screen throughout all six films and The Clone Wars, it is somewhat interesting that, outside of a few novels and short stories, the issue of what rights droids have, whether they are considered life or merely property, has yet to be touched on.

In many ways, the events of Droids in Distress provide us with a snapshot of how the two major factions of the time treat the universe’s ubiquitous mechanical sidekicks. There is a stark contrast between the Imperial treatment of droids and the way the rebels interact with the droid member of their own crew, as well as this week’s special guest stars. Read More

Rebellion and the Call to a Higher Cause

hera-ezra-cockpit

Note to our readers: this article was written with full knowledge of the Rebels pilot, Spark of Rebellion, in mind. As such, spoilers will be found related to the characters, plot and themes of the episode(s). If you want to get the most out of this article, the ETE staff would recommend reading it after you’ve watched the pilot for yourself.

“I’m all for sticking it to the Empire, but there’s no way I’d stick my neck out this far. I mean, who does that?” “We do.” – Ezra Bridger and Hera Syndulla

“If all you do is fight for your own life, then your life is worth nothing!” – Hera Syndulla

What drives the spark of rebellion? What brings beings to the point where they openly defy the galaxy’s one major ruling power? For one Ezra Bridger, it was just a game, something he did to get enough food to keep his stomach happy until the end of the day and make fools out of the men in white armor. Life, for him, is lived in the now, in what he does from day to day. He has no plans, no future, nothing to look forward to except possibly stealing something worthwhile that he could sell on the black market to get enough credits to buy a slightly nicer meal. His rebellion is less about fighting the Empire and more about being independent. Read More

The Pitch – Rebels Bottle Episodes

A handful of you will find this hilarious.

While we’re only a couple of weeks away from the official premiere of Star Wars Rebels, it may be a while yet before we really know on a macro level what the show is about. The Inquisitor, after all, doesn’t even join the party until later on—and it remains to be seen just how big of a presence he’ll be in the first season as a whole, to say nothing of future seasons. The same goes for Lothal—it’s the heroes’ base of operations for now, but forever? I doubt it.

So with that in mind, I asked the others to pitch their ideas for what you might call Rebels “bottle” episodes. Colloquially, a bottle episode of a TV show is a standalone story designed to be produced entirely using existing sets and contracted actors, meaning it can be produced for a bare minimum of expense—often these will show up to allow for something particularly extravagant elsewhere in the season.

While I didn’t hold them to the “cheap” part, I did mandate that the story be entirely self-contained, so it could theoretically go anywhere in the first season without getting in the way of whatever the larger arc turns out to be. Here are their ideas. Read More