Escape Pod: Talon Karrde

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The Sequel Trilogy is going to need some unsavory characters and who better to lead them than someone who already exists: Talon Karrde. First introduced in Timothy Zahn’s Heir to the Empire this character’s story soon takes on a life of its own as he plays both the Empire and the Rebellion in an effort to make the most money and save himself. Paired up with Mara Jade, Karrde brokered information in an organization that would rival any in the galaxy. In a time when our known scoundrels like Han Solo and Lando Calrissian were becoming somewhat respectable, Karrde filled the role of semi-reputable smuggler. As a reader it was a breath of fresh air when comparing Karrde’s organization to that of the Hutts from the movies.

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Star Travel and You – Why It Probably Shouldn’t Look Like That

Star Wars is perhaps the most iconic mythology of the last century. Even if someone has never watched one of the movies, they know what a stormtrooper looks like. They can recognize a lightsaber. And moon-sized superweapons and the Force pervade every-day references. And yet, despite the impact of this great science-fiction epic, Star Wars has made a lot of mistakes in the “science” part of “science fiction”.

In fact, many of the trappings that we know and love are more for visual effect rather than practicality. And this is not limited to the generic details of the world, but the entire way that we perceive the culture of Star Wars functioning.

Some parts are far more obvious than others. Any Star Wars fan is used to great armies traversing the galaxy on a whim, fighting battles on planets halfway across the galaxy from each other in the same week, or even the same day. And yet, real space travel is prohibitively expensive. Like any technology, the price will eventually become more affordable the more advanced a society becomes, but that barrier will never be totally removed.
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Cog Hive Seven and Social Justice in the GFFA

In last week’s new release Maul: Lockdown, Darth Maul is sent to uncover a reclusive and mysterious arms dealer hiding out in Cog Hive Seven, a space-based prison whose architecture is infinitely rearrangeable. This has two benefits: one, escape is much more complicated when the route out of your cell is constantly changing, and two, it allows Warden Sadiki Blirr to pick any two inmates and smack them together like action figures. The resulting deathmatches are then broadcast to the galaxy for gambling purposes, with Blirr herself collecting a healthy piece of the profits. This system of near-constant combat makes up the spine of Lockdown‘s bloody proceedings, and while the Rubix-Cube-like concept of Cog Hive Seven is a novel approach, the general premise of gladiatorial combat has a long and storied history in the Galaxy Far, Far Away, dating almost all the way to the beginning of the Expanded Universe.

My comrade Lucas Jackson touched on gladiators briefly back in Star Wars and Genre: The Sports Story, and he may well return to the subject one day, so I won’t get too into the details here; what I’m more interested in is what the many instances of coercive life-or-death combat suggest about the Star Wars setting as a whole.
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A Case for Starting Over, Part V: Passing the Torch

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When we think of Star Wars, our minds usually leap first to the likes of Luke Skywalker, Leia Organa, and Han Solo. It’s a natural enough reaction. They’re Our Heroes, the iconic trio, the protagonists of the Original Trilogy, and more or less the defining figures of the entire saga given how most people view the prequels. But they do not stand entirely alone in the galaxy’s pantheon of heroes.

There were many who came before them, and there are many still to follow, for the tales we see on the screen are but a brief glimpse at the history of a much larger universe. What we will concern ourselves with here today, however, is the generation immediately succeeding the Big Three; their children, their friends, and those who would continue their work to ensure peace and justice in a galaxy that does not see enough of either.

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Goodbye to More Than Just Dark Horse

Dark Horse was about the talent. From left, Randy Stradley, John Ostrander, Sean Cooke, and Jan Duursema.

As my colleague Becca pointed out yesterday, the loss of Dark Horse as Star Wars’ comics licensee strikes deep. Dark Horse treated the Star Wars license with deep love, intense attention, and consummate professionalism.

As I look at what Dark Horse’s departure means for Star Wars going forward, I am struck by the ways this move potentially signals the new way of doing business under Disney, and by the way the larger move to Disney may resound going forward. In particular, I fear the move from an artistically-driven model headed by filmmaking auteur George Lucas to a profit-maximization-driven model headed by a boardroom of corporate suits.

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