Rebels Revisited: Find What You’re Looking For

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We’ve covered the way Rebels doles out its plots and themes quite a lot since the first season, how just as often as episodes wrap themselves up in a nice, neat little package, they leave tidbits and other things to drift with the possibility of being snagged later on. Some of them were obvious hooks, like Sabine referencing her time at the Imperial Academy, while others were rather more subtle. And as the show has now advanced into its second season, some of those plots both obvious and not have begun paying off.

Back in the first season, we learned about Ezra’s mixed feelings on his parents’ disappearance, how he wanted to find them but also didn’t want to be told that they had met an untimely fate. His encounters with those who had knowledge of their fate, most notably the scatterbrained Rodian Tseebo, provided a look into a boy’s complex psyche, where all of his years spent living on his own have insulated him against hope, but at the same time, something inside of him longs for his family to be alive and well somewhere.

Where we are now, at the midpoint to the second season, is a great place to look back at the series as a whole and how plots like Ezra’s search for his parents have shaped the show. Ezra’s choices in “Legacy” are different from the ones he made in the first season because Ezra himself is a different character now. The plot of the series has evolved as the characters (in this case Ezra) have grown. And the showrunners were patient enough (and had enough faith in their audience) to give the plot plenty of time to simmer before finally taking the cover off. Read More

Not too short for a stormtrooper: Why eBook novelettes are a great idea

The_Perfect_Weapon_final_cover[1](This is my last piece going up before The Force Awakens, and it’s a little odd to be writing a piece about the future direction of Star Wars publishing with that on the immediate horizon but this piece was prompted by the Journey to the Force Awakens short stories that released last week and what they presage for SW literature. As much as TFA is dominating my thoughts, the franchise is going to continue going full steam ahead right after release with more novels and supplemental materials: the movie’s just the beginning. So with that, I’ll jump back into the pluralis majestatis and get this thing started.)

Star Wars has a long history with short stories. Some of the best EU works ever written were published as short stories in WEG’s Star Wars Adventure Journal, while the Tales From anthologies were commissioned to expand storytelling to the fringe scenes and characters of the original films. Video games such as X-Wing, TIE Fighter, and Galactic Battlegrounds came with their own short fiction and the Hyperspace feature of the Official Site allowed members of the Star Wars Fan Club to read exclusive fiction content. Magazines such as Star Wars Gamer and Star Wars Insider also ran fiction, and Insider in particular continues to run short stories in this new canon era.

These short stories really pushed the bounds of the Star Wars narrative by focusing on peripheral characters and storylines that might not have justified or sustained a mainstream novel. The short story format allowed the publishers to take risks, releasing tales that did not need to meet the same marketing calculus that a full novel or novel series might. Publishers were also able to use a larger stable of authors, given that a magazine or anthology could offer many more writing slots than a year-long novel-publishing calendar might. Star Wars short stories expanded the universe in every sense of the term: by focusing on everyday characters, the galaxy just seemed like larger and more vibrant place. There was only ever one problem: these stories were not “available wherever books are sold” as the novels were, and unless one obtained a particular issue of a journal or magazine, it was pretty difficult to get a hold of these stories once they were published. The Tales From anthologies were different, because they were released like novels.The-Crimson-Corsair[1]

We’ve long championed the potential of short stories to tell interesting stories and showcase different authorial talents. Last week’s release of five Journey to The Force Awakens eBook shorts by Delilah S. Dawson and Landry Q. Walker provides an excellent demonstration of how the combination of the short story structure and the eBook format allows Star Wars publishing to have the flexibility to tell great stories and also to have the wide accessibility to reach a larger audience.

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A Tale of Two Retcons

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A few weeks back, after the “Wings of the Master” episode of Star Wars Rebels aired, a little tizzy broke out on the Jedi Council Literature forum over a supposed contradiction in the new canon: according to an editor over at Wookieepedia, the reference book Ultimate Star Wars had canonized the Expanded Universe detail that B-wings were developed by Admiral Ackbar. In the most superficial, obtuse sense, this seemed to contradict the role of the Mon Cal engineer Quarrie in the episode, and for a little while there, the community was hard at work alternately brainstorming retcons and debating the degree to which the Lucasfilm Story Group had failed us.

Naturally, something as complex as a starfighter can easily have multiple significant developers, and one idea that I thought was particularly interesting was that Quarrie and Ackbar, upon the former’s arrival in the mainstream Rebellion, developed a relationship along the lines of Nikola Tesla and Thomas Edison—where one was the real genius, and the other, Ackbar in this case, used his superior marketing and networking abilities to ultimately receive most of the credit and popular recognition.

Ackbar in canon is something of a gruff busybody (if not a true asshole like Edison), and that sort of professional rivalry between him and Quarrie made sense for both characters, I thought, and added an interesting level of complexity to Rebels‘ straightforward account of the B-wing’s origin. In the end, of course, it was a pointless conversation—the claims about an Ackbar credit in Ultimate Star Wars appeared to be flat-out wrong, and there was no contradiction, just an object lesson in fannish overreactions, and the perils of using a wiki as your primary source. Read More

Rebels Revisited: And the Children Too

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Ben: Which is worse; a gruesome fate fully realized on the screen, or a future that’s only implied and never stated? As a narrative device, it’s almost certainly the threat rather than the act that’s more effective. While there is certainly an amount of narrative punch to be had in spelling out just how terrible the end of someone’s story winds up being, many more worse things can spring from the imagination of the audience. It’s why horror movies with low budgets can still be just as frightening by not showing exactly what might be killing its character.

That’s what makes the rules of Standards and Practices toward kids’ programs often counter-intuitive. Any potentially traumatizing acts are forbidden to be shown, so the show’s creators will get around that by having the act happen, but placing it off-screen or out of view, or even just relegating it to being mentioned. But a child’s imagination is a fertile thing, and seeing the act has little to do with actually being terrified by it. The sounds, hints and implications are enough.

Rebels very knowingly steps into this territory with “Future of the Force”. The whole plot of the episode revolves around the kidnapping of infants too young to even speak. Whatever fate they might suffer once in the hands of the Inquisitors is never actually said (the closest we get is the Seventh Sister’s declaration “Who doesn’t want to be a mother?”), much the same as this episode’s predecessor, The Clone Wars’ “Children of the Force”. To this point in canon, we don’t know exactly what fate or fates might await the unfortunate infants. But as previously stated, what we can imagine might be even more terrible than what is true.

So let’s do some imagining, shall we? Read More

“Who is Luke Skywalker?” or, How I Learned to Stop Caring Who’s Related to Whom in The Force Awakens

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It’s December, and we are officially less than twenty days from the release of Star Wars: The Force Awakens. If you’re like me, you’re juggling work, the holidays, the inescapable excitement of the upcoming film, and some kind of re-watch of the first two trilogies (with perhaps some Clone Wars sprinkled in). And you’re doing it with friends – friends with questions about why and how the Republic fell, where exactly Darth Vader falls in the Imperial hierarchy, the relative autonomy and purpose of a protocol droid, and, naturally, where the new characters of The Force Awakens fit into the sprawling scheme that is the galaxy far, far away – and who they’re related to.

It’s not the easiest question to answer. You could recite the talking points given to the actors, or quote director JJ Abrams’ cryptic but brief epilogues for Rey, Finn, Poe Dameron, and Kylo Ren. You could also launch into an explanation of the plot, uncovered and expounded upon over the course of the year by the spoiler community, or instead pivot to fan theory and speculation about who’s related to whom, some strong but some still very silly (Finn is NOT Lando’s son, folks).

Or you can share what I’ve been saying recently: it doesn’t matter, because they are all some version of Luke Skywalker. Read More