Author: Alexander Gaultier

We don’t really know very much about Rogue One right now. We have a title that may or may not mean something to us, the release date, and the names of one member of the cast (in an unspecified role), the director, the producers, the score composer, the source of the core concept, the person who named it, and the writer. Unless more should be revealed in the time between when I write this article and when it’s published, that’s just about it.

Anything apart from that is nothing more than pure speculation. So, in order for this article to actually contain meaningful content, we’re going to have to treat a certain assumptions as if they were fact: specifically, that the name Rogue One does refer in some way to Rogue Squadron, and that it is a movie focused on the exploits of that particular unit of starfighter pilots.

Now, it’s entirely possible that these assumptions will be proven false in the coming months, especially if one takes the initial report regarding the concept art for the film into account. It may turn out to be something more along the lines of Wraith Squadron, dealing with hybrid commando-pilots.

It may not be a movie about starfighter pilots at all. Even if that ends up being the case, I will have no cause to complain, but I will continue to maintain the viability of a feature film centered around starfighter pilots and their spacecraft. Today, we’re going to talk about what steps might be taken to ensure that Rogue One is the best space ace movie it can possibly be.

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Tabletop role-playing games have something of a reputation among those who do not play them. The concept of a group of people sitting around a table and rolling dice together while pretending to be bizarrely named (sometimes not even human) fictional characters is intolerably alien to many: since the release of Gary Gygax and Dave Arneson’s original Dungeons & Dragons in 1974, role-playing games and their creators been accused of everything from promoting satanism to inciting their players to commit murder, and at one point had a sourcebook infamously seized by the United States Secret Service.

Even as recently as 2005, the Israeli Defense Forces maintained a policy of restricting soldiers who played Dungeons & Dragons to low security clearances. Yet despite their many controversies, role-playing games have successfully managed to carve out a niche for themselves in the broader gaming market, and remain a popular form of tie-in product for many major franchises, Star Wars included.

But given Star Wars’ longstanding “everything is canon” approach to its spawn, we can’t simply look at our role-playing games as mere offshoots of a prosperous fictional saga. Unlike many of its contemporaries, Star Wars’ sourcebooks can and do directly influence the content of its books, video games, and comics: the information they contain being equal in weight and value to any mainstream work short of the films themselves.

Perhaps this should not come as a surprise, given that a number of the franchise’s most prominent authors (Aaron Allston, Michael A. Stackpole, and Troy Denning, among others) had backgrounds in writing and developing role-playing games before they came to write novels for Star Wars. But despite this unprecedented level of acknowledgement for what would normally be considered purely supplementary material, it is their past that is of far greater interest to us than their present.

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