What Star Wars Can Learn From A Whole New World by Liz Braswell

24397040[1]If asked about an “alternate universe Star Wars story,” most people might immediately bring the Star Wars Tales comics to mind. Others might bring to mind the old Infinities comics exploring different takes on the Original Trilogy. A few might think of alternate universe scenarios in video games, such as the dark side endings to various games or The Force Unleashed franchise allowing its pet character Starkiller to kill all of our beloved heroes. A really cheeky person might ask if we meant the Legends Expanded Universe. Alternate universe stories might be common in other franchises – especially comic books – but Star Wars rarely draws from that well, except in fan-created works. Even most Star Wars video games would fall into whatever was the canon continuity at the time. Though the obsession of Star Wars with fitting everything into continuity could be the subject of its own article, it’s still strikingly odd that Star Wars almost never consciously creates alternate universe stories. Taking aside the alternate endings for video games, only Dark Horse committed to alternate universe content in any consistent way. The novels conspicuously never touched it, except for early works of dubious continuity value. (Before anybody asks, no, this is not a “Bring Back Legends” article)

Disney Book Group is doing something rather interesting – they’re publishing a series called A Twisted Tale, which takes their extremely well-known animated features and shooting their stories off in an alternate direction by changing a key fact of the story. It’s a little like Back to the Future II, and if we have to explain that reference to anybody we’re going to be very distressed. Now, this idea is pretty cool not just conceptually, but because Disney is pretty strict about the use of its animated brands on a level fairly comparable to Lucasfilm. So if they’re willing, why not Star Wars?

The first book in the series is called A Whole New World, and it’s an Aladdin alternate universe story by Liz Braswell. It’s a pretty fun story, and so we’ll illustrate what we mean about Star Wars by reviewing this book. It’s a darker and more realistic take on Aladdin, being geared towards young adults who might have grown up on Aladdin (though folks like us who saw it in theatre are decidedly past the young adult stage, at least “young adult” as it’s understood in publishing). The story follows along the movie at first, developing it the way a film novelization might, until the point at which Jafar sends Aladdin to recover the lamp: Jafar betrays Aladdin but manages to keep the lamp, and is able to institute his dark plans far earlier. He becomes a sultan and sorcerer, and Princess Jasmine has to escape and become a revolutionary leader… which is a version of Aladdin we never knew we needed until now. And that’s the beauty of an alternate universe story: it can be more than just a plot twist if it explores different sides of characters or a different type of story.

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Meet the Marvels: Greg Rucka

We are going to continue our look at representative comics penned by future writers of the Marvel Star Wars comics, trying to examine what makes them a bad or good choice to write Star Wars for the benefit of any readers that may be Star Wars fans but not comic book fans. In the past we’ve looked at Jason Aaron, Kieron Gillen, Mark Waid and Charles Soule, and now it’s time to take a good look a Greg Rucka, the writer of Shattered Empire, the comic miniseries that’s coming out as part of the Journey to The Force Awakens. And this time, choosing the comic series we are going to spotlight couldn’t have been any easier.

Greg Rucka’s writing career started with his Atticus Kodiak novels, a series of seven crime books starring a New York bodyguard, and he started writing comics with the critically-acclaimed Whiteout, an absorbing story about a female sheriff having to solve a crime at McMurdo Station, Antarctica, and finding what appears to be the work of a serial killer; he also published Queen & Country, a gritty espionage series about a British SIS agent and his world. Once his reputation as a good writer was consolidated, he went to work for DC Comics, writing Detective Comics (where he created many of the characters that would become part of the detective series Gotham Central, that he would co-write with Ed Brubaker) and Wonder Woman, and famously being part of writing team for the also-critically-acclaimed weekly series 52.

Leaving DC after being taken off the still-unpublished Wonder Woman: Earth One, Rucka came to Marvel to pencil one of the most interesting runs in The Punisher in recent history, perhaps only second to Garth Ennis’s long stint on the MAX title. If this series of accomplishments would lead you to think that Rucka is a crime writer first and foremost and has no business writing Star Wars, you couldn’t be more wrong: not only does he write the steampunk adventure comic Lady Sabre and the Pirates of the Ineffable Aether, but he also wrote for Marvel the title whose first issue we are going to be talking about today: Cyclops.

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Narratives of Failure – What Works and Why?

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In recent years the video game industry has sought to present their products in a more sophisticated light, to demonstrate as it were that they have ‘grown up’. The option gone for, in these cases, is the bleak ending, with the notion that, in the end, all your hero character can do is choose how to fail, not how to win. Mass Effect 3 is one well-known example, but the recently released Batman: Arkham Knight is an equally worthy, perhaps worthier, contender.

Say the words ‘narrative of failure’ to a Star Wars fan and two options spring to mind – The Empire Strikes Back and Revenge of the Sith. Yet, though both tend to get lumped into the category of ‘bad guys win’ stories, do they really? ROTS ends on a hopeful note for the future and while they’ve been blasted by their experiences, no one is dead at the end of ESB.

It is important to recognize the importance of the medium used. There are notable differences between film and video games, particularly with regard to the user, that suggest that film can get away with certain narrative moves video games cannot. The principal difference being activity. While the audience may indeed become emotionally or intellectually hooked on a film’s plot, they are still essentially passive in the sense they are the audience and cannot impact the tale. In contrast, video games require a level of active involvement with, in the best games, an ability to affect the plot outcome. At its most basic, this is simply in continuing the game and not being killed, but has gone much further with games having multiple endings that are chosen by player choices. Read More

“What If”, But For Real—Let’s Recontextualize the OT

sanacoverWay back at the beginning of June, issue #6 of Jason Aaron’s Star Wars comic series ended with a bombshell: the apparent bounty hunter tracking Han and Leia for three issues or so finally caught up with them, only to claim that she was Sana Solo, Han’s wife.

By the time you read these words, Star Wars #8 will have been released, and we may well know the truth of Sana’s claim (though probably not). But back in June, this made for a big news story; the comics are canon now, after all, so if Han has a wife in them, then he’s got a wife in A New Hope! Isn’t that a big deal?

Well, yes and no. For starters, there are all sorts of possibilities here. Even if Sana’s not just stark-raving mad (or, y’know, lying), she could in fact be his ex-wife, or they could still be legally married but estranged—and said estrangement could be for reasons that make Han look like a million credits and make Sana look like the devil, or vice-versa. As of this writing, we just don’t know. Read More

Princess Leia Deserves Her Own Star Wars Film

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Of the “Big Three” characters of Star Wars, Princess Leia has the smallest profile and least exposure in tie-in products. This strikes us as very odd, because Princess Leia was the most revolutionary of the three main characters of A New Hope: the gritty mercenary with the heart of gold and the heroic youth were pretty common archetypes. Leia was something different though – she was a princess, but she didn’t play a passive role even during her own rescue! We hope that we really don’t have to sell anyone on why Princess Leia is awesome, because that should be blindingly self-evident. Leia’s a princess turned senator turned resistance fighter – how does that not make for an extremely compelling backstory?

But for all that, she’s shockingly underused compared to the other two parts of the Big Three. Luke Skywalker is in practically every OT-related Star Wars work and is prominent in the Legends EU, while Han Solo gets his own Anthology (sorry, “A Story Wars Story” – gag!) film and helmed two book trilogies in the Expanded Universe. Leia certainly has a strong role in many EU books, but rarely gets to lead her own stories. There’s no reason why that has to be the case. Indeed, there have been some great Leia stories recently. The late Legends Razor’s Edge by Martha Wells was an excellent Leia-led book, though we were a little disappointed that Leia couldn’t even get her own tale without Han and Luke as supporting cast. Mark Waid’s recent Leia miniseries was excellent (and should be revisited or made an ongoing!). We’ve also raved about how well Alexandra Bracken is writing Princess Leia in her upcoming The Princess, the Smuggler, and the Farm Boy and how we’d love for her to author more books about Leia. So there are plenty of avenues to tell more stories about Leia, and we’d be over the moon to see more Leia-led comics, novels, or video games. But without hesitation, we’d say that Leia could not only support a Star Wars anthology film but that she deserves one. Read More