Like many people, I kept my expectations low going into Solo. I thought it was a movie that I wasn’t sure needed to exist, but the trailers looked pretty cool and I hoped to get a good Star Wars movie out of it. So when people asked me what I thought of the movie after watching it, I was surprised to realize that I wasn’t quite sure what to make of it. It wasn’t like The Last Jedi, which needed a few viewings to process what was happening. Solo was pretty straightforward – I was sure that I liked it, but I wasn’t sure how much. I told a few people that I thought it was “just fine” but even as the words came out of my mouth, I thought that I was damning the movie by faint praise and that just didn’t seem right. The movie was different from the previous episodic films and even from Rogue One, but it wasn’t a bad movie. I liked it.
After a while, I realized that Solo felt a little different to me than other Star Wars movies. I would almost say less cinematic, except Solo is clearly a movie made by moviemakers conscious of cinema tradition in general (the movie has echoes of Lucas’s oeuvre, noir, crime dramas, etc.). But despite its cinematic trappings, it felt more like a season of TV or an Expanded Universe novel condensed down into two hours. This isn’t a negative – I like Star Wars TV and I like SW books, both Legends and canon. But something about the story – more than just assorted lore namedrops – reminded me of the type of Star Wars story telling that isn’t “necessary” (you don’t have to read every book) but tells us a little more about the Star Wars universe by providing texture and character. That’s what Solo is, I think – it’s a story that’s available if you want it, but not mandatory if you just don’t have any interest in the subject matter or era.
Spoilers beneath the cut! I’m avoiding major plot points on purpose, but I always advocate being as spoiler free as possible!
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Last Shot is a zany Han and Lando novel, but among all the fun there were moments that covered some pretty weighty issues. The presence alone of an Ewok slicer, Peekpa, makes us question some of the assumptions we’ve had about Star Wars aliens in and out of universe. In another scene (details below the spoiler cut), Older has an alien character discuss how their species is still stereotyped and discriminated against by humans, even though they’re all supposed to be equal. Finally, Lando’s droid, L3-37, is an advocate for droid rights and while I don’t know how much of that will show up in the Solo movie (it’s enough to warrant a mention on L3’s StarWars.com databank page), the relationship between droid and organic sentience is a major theme of the book. These are the sorts of topics that Star Wars really papers over or treats superficially, if at all.
Before I get into the topic in full, I did want to briefly give Last Shot a straightforward review. I greatly enjoyed it. The book felt like coming back home to the old-school EU with its take on the post-Endor New Republic and the adventures of Lando and Han, or the relationship between Han and Leia (my favorite part of the book aside from the scenes below). There are some great lines and hilarious scenes, especially featuring certain droids near the beginning of the book.
But as much as I quite enjoyed all of that, I want to focus on aliens and droids—populations in Star Wars that have to live by humanity’s rules, and who might defy human expectations if given a chance. This book does just that—it’s the little things, but Daniel José Older gives us things we have not seen in Star Wars before by treating aliens and droids with respect. They’re involved in jokes, but they are not the butt of jokes. Minor spoilers beneath the cut.
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It is just over three months on from the detonation of the bomb that was The Last Jedi. The fires of controversy are indeed still burning and show no sign of diminishing. In the wake of all that, those flames also very recently got a hefty dose of oxygen with the release of the film novelization. Does the novel salvage the film for me? No, that’s demanding far too much of it, especially as it has to work with the plot of the film which causes so many problems in the first place. And then there was the effect it had on the wider Star Wars universe. Um, how to put it? Where’s that very appropriate GIF? Ah yes, here it is:
Yes, whatever hopes I had for how the film might improve on the success of Rogue One‘s masterpiece of coordination the year before were pretty much dashed. And so it was on the books – Phasma gave some quite interesting info on how the First Order actually operates, The Legends of Luke Skywalker remains a great set of Luke tales, but the film followed through on both in the most mundane way possible.
So then, what can Mr. Fry actually do with one book in the wake of all this cavalier destruction? Quite a bit as it happens.
His previous work has been on books like the Essential Atlas or the Essential Guide to Warfare – books that are all about trying to make it all work. Or bringing a new take to material you might consider humdrum. In this respect the books Moving Target and The Weapon of a Jedi are each based around what seems a blindingly obvious character observation. In Moving Target’s case, a consideration of how the revelation of the second Death Star had a devastating effect on Leia. How could it not? Yet no one had spun that story into being. Similarly, bereft of anyone to teach him, how does Luke even start to work out how to use the Force? He had done it on the Death Star run but he did not know how he had. Again, seems so easy, so obvious, but when I read Weapon of a Jedi, the story felt new. » Read more..
—this piece contains major spoilers from The Last Jedi—
“Luke Skywalker has vanished.”
The opening line of the crawl for The Force Awakens was like a gut punch to Luke fans everywhere. And not only was Luke gone, he’d apparently gone missing voluntarily, as a result of Ben Solo falling to the dark side and becoming Kylo Ren. For two years the fandom theorized not only on why Kylo became evil but why Luke Skywalker, Rebel hero and Jedi legend, has apparently given up. In The Last Jedi, we finally get those answers. Luke takes Yoda’s advice to “pass on what you have learned” to heart, but a split-second mistake on Luke’s part brings the whole thing crashing down. And as a result Luke decides to exile himself on a remote island and leave no trace of his whereabouts. By the time Rey finds him, he’s an acerbic, sarcastic hermit who in so many rude ways tells her to leave him alone and that he refuses to help Leia fight the evils of the First Order.
This seems a sharp contrast to the bright, shining figure we see in the original trilogy. Luke had hardships and made decisions that backfired on him, but he was never one to run away from a problem. So at first glance this seems like a long string of extremely out of character moments meant to create drama and difficulty for Rey and Kylo. However, when taking a deeper look at Luke’s character and personality in the original trilogy, his circumstances in TLJ are a natural extension of his character. » Read more..
—this piece contains major spoilers from The Last Jedi—
Deep in the Corporate Sector lies the world of Cantonica. A desert wasteland of a planet where the rich and the powerful have managed to create a paradise for those able to afford it, a city called Canto Bight. A cocktail that’s equal parts Monte Carlo, Casablanca, and Dubai. A place where the bright lights hide a layer of pain and sorrow, a pit from where the new hope for the galaxy might end up emerging.
Class struggle is a concept that’s always been pretty much foreign to Star Wars. We’ve seen it used as flavor in a few galactic settings, like Anakin’s (pretty comfortable) slavery at the hands of Watto or the Naboo’s elitist disdain for the Gungan ethnic minority, equals part speciesism and classism. The supplementary material, both in Legends and in canon, has taken a closer look and how the rich and poor live in the galaxy and how they interact with each other, but it’s never been something to take much prominence. The conflict between the Republic and the Trade Federation, although later on explored as having its roots on a long conflict between a rich Core and a poor Rim, is never portrayed in the movie as anything other than a clash between two monolithic powers, a corporation and the government, over taxation.
But we’ve rarely seen the oppressed of the galaxy.
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