Lego Star Wars: The Skywalker Saga – The Game Star Wars Didn’t Know it Needed

For all that I was expecting great things of Lego Star Wars: The Skywalker Saga, it still managed to exceed them. It did particularly well in its version of the main story, bringing new emphasis to certain aspects and expanding and improving upon others. Above all, it did something entirely unexpected: not only did it treat the nine films as a series of nine films, it made the story flow from the start to the end. Yes, that does include the sequel trilogy.

My route through the set was originals then prequels then sequels, but by all accounts, the game is rather smart in enabling any structure. You want to play in the machete order? Off you go. Two ace cards the game plays early and frequently are the assumption that the audience knows the material and a very smart sense of humour. The humour turns up all over the place in surprising ways and, at times, takes a very meta tack. For instance, one Phantom Menace level is called Better Call Maul. Similarly, a quest in The Rise of Skywalker that you play to unlock Beaumont Kin is called Second Breakfast, a sly nod to Dominic Monaghan’s role of Merry in The Lord of the Rings films. These jokes and others show that Traveller’s Tales (henceforth TT) were aiming this game at everyone. Sure, kids are the primary audience, but not exclusively.

George Lucas’s approach was mostly on the big-picture, grand-themes stuff — details, consistency, these were not his forte. This was demonstrated in how he syncs up the end of Revenge of the Sith and the start of A New Hope — it kind of works but when you start looking at the details it gets a bit iffy. The sequels, in some sort of weird homage to Lucas, replicated this freewheeling approach to its component parts. The result was three films but not a trilogy. It had the pieces to be so but the films just do not work together. The game cannot entirely fix all this but it has a very good go at it.

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The Unexpected Optimism of The High Republic

Announced some time ago, I have to admit to a certain amount of skepticism about The High Republic. With the last few years seeing some quite spectacularly awful real-world politics, a sequel trilogy of films that decided its best move was killing off Luke, Han and Leia, plus – and how could this one be forgotten? – a global pandemic, I was lukewarm about its claims to being a more optimistic Star Wars story. At the same time I had some reason to be wary of the writer kicking it off, which Charles Soule would I be getting? The one that did some smart work on the first Lando comic miniseries or the one who takes the corporate gigs like killing off Wolverine? Finally, there is the cynicism born of numerous brighter, happier superhero relaunches that end quickly with some character getting eviscerated.

It’s therefore a rather delightful surprise that Light of the Jedi defies all of this to do something entirely different, very, very unexpected but not at all unwelcome.

One question that comes up with regard to stories is if the heroes have all the advantages how can there be any real conflict or challenge? How can the villains get any victories or even represent a genuine threat? The first answer to this question comes in the face of the disaster that opens this story, and from the very start it defies expectations in a positive way. When reading it, some of what you expect does happen; you may well foresee that a particular new character is not going to be around long and, while you might be right, you may also end up caring about them far more than you thought you would. At the same time, Soule does not play the darkness card here – it’s a disaster sure, many, many people die, but the plot does not overly dwell on it. Instead we see what The High Republic is about in its response to this disaster.

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Why Darth Sidious is Exactly What the Sequel Trilogy Needed

For all that it is an apocryphal line wrongly attributed to John Maynard Keynes, it is particularly apt for this article:

When my information changes, I alter my conclusions.

For the recent revelation that the Emperor will feature in Episode IX, along with the title being The Rise of Skywalker, changes things greatly. Now, of course, they could be playing games. Episode IX’s predecessor has become infamous for doing exactly that but this time? This time, I think not. They have put these two pieces out as a PR vanguard for the film. Each would be stunning by itself, but together? Well, gives new meaning to the old line of “always two, there are.” Combined they are a seismic bomb that could re-spin the entire trilogy, while also enabling it to take its place in the wider story.

I haven’t written for this site in a while, due to the destructive aspects of The Last Jedi. It was not just a case of killing Luke off, which has come to feel nastier as time has gone on, but that the film overall was highly destructive across the board. Speculate as to what will happen in the next film other than offing old characters? Er, with what? What is there to speculate with? As of the end of TLJ there’s twenty beings crammed into the Falcon against the entire First Order, with only Leia of the original trio left alive and the new trio comprehensively trashed to a far greater degree than anything ESB ever did. There is very little to work with here.

The new teaser trailer starts to supply the material to speculate with and the killer move in it is the final seconds – Death Star wreckage and a very ominous, very familiar laugh. Before I suspect they might have gone with a is-it-or-isn’t-it card but this time? Nah, they’ve gone: Fuck it, it’s the last film, we’ve no time for games, it’s the Emperor, ‘kay? Read More

Jason Fry and Fixing Up the New Star Wars Canon

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:

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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

Fleeing The End: Why I Finally Watched The Force Awakens—and The Last Jedi

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Two years back, I did an article on why I was holding off from seeing The Force Awakens. I watched it just over a week ago, with The Last Jedi on the next day. (Reviews for both TFA and TLJ.) Did my expectations of what I thought I would make of TFA actually pan out? I think so, but with one difference in that I did not really see the same movie as others would have seen two years gone.

Nope, the version I saw was technically the same, but I saw it having a lot more information about how it all came about than any viewer would have had then. Did that change it? It bolstered and supported the film’s weaknesses. Even a partial, incomplete account of where the First Order came from beats nothing, similarly a general picture of how the Republic works beats nothing. I would disagree much needed to be done to address these in the film, each could have been covered by a single line, say of First Order agents paralyzing the Republic politically, an older Resistance member quipping to another about a sense of déjà vu. Small details to be sure, but they would have helped the film stand more on its own.

And that ten percent of the film I expected to dislike? Well, the Bloodline book did de-fang a lot of what TFA does with Han and Leia, by dating the collapse of everything for them as roughly six years earlier. That changes the picture quite a bit and lessens the impact. It’s notable that Han’s claim to be good at smuggling is complete bullshit. He wasn’t that good at it thirty years previous and age hasn’t made him any better. As an excuse for a man who blames himself for things he should not, it does work. Leia’s focusing on what she can do, rather than what she cannot – like convincing Han he should not blame himself – that works too. Read More