First time here? Get caught up with the mission statement, Episode I, Episode II, the Clone Wars movie, the first season of the show, the second, the third, the fourth, the fifth, the sixth, Clone Wars Legacy, Episode III, the lead-up to Rebels, Rebels Season 1, Rebels extras, Episode IV, the in-between and Episode V. Alright, guys. Welcome back. Just like we've talked about the supplemental material that occurred between Revenge of the Sith and Rebels, that which came between Rebels and A New Hope, and most recently the material that occurred between A New Hope and Empire, we return once more to discuss the myriad of material that covers the year between the end of The Empire Strikes Back and The Return of the Jedi, which is...oh, just one 230 page YA novel, it turns out. Hopefully in the future we can explore this tumultuous period for the rebellion in more detail, but for now let's take a quick mostly-spoiler free peek at the third and final "Journey to The Force Awakens" YA novel, Moving Target.
Moving Target Co-authored by Jason Fry, who avid readers will note this blog has tended to fawn over, Moving Target may seem initially like the weakest novel of the three (indeed, Nestle apparently thought so, as there's no animated version of this work to accompany the ones created for Smuggler's Run and Weapon of a Jedi), however it's merely because action takes a back seat in favor of a character study of the iconic princess without a kingdom. It's the most heavily referential of the works so far, reaching back into the canon not just in reference to the films but also the events of Smuggler's Run (the rescue of Ematt by Han and Chewie is mentioned) and Leia's history thus far with Nien Nunb (explicitly referencing their adventures in the Mark Waid Princess Leia comic). Bookended by a framing device of Force Awakens era Leia dictating her memoirs to PZ-4CO and discussing the recklessness of Po Dameron with Ematt, the meat of Moving Target involves Leia bringing an unknowing crew on a dangerous decoy mission and wrestling with sacrificing unknowing innocents for the sake of a grander goal. Ultimately, the novel satisfies, even if it doesn't thrill and excite the way Weapon of a Jedi did, and one does questions how much of the novel will actually echo in Force Awakens the way we already know elements of the other two works will. However, especially as it's the only bridging material between the final two OT films, Moving Target is definitely worth a look. Well, I realize that was fairly brief, even for a mid-week column, but I couldn't ignore the work and still feel right as a completionist. Come back Friday as we discuss the final film in the original Star Wars trilogy, and our final Friday column before the big debut (though I'll tweak our schedule and discuss the bridging material on Friday December 18th, since I'll have enough people calling for my head after my Empire opinion without being "the spoiler guy", and discuss Force Awakens the following week), Episode VI: The Return of the Jedi.
The year is 1980. The Miracle on Ice just hit Lake Placid, Pac-Man fever hit arcades everywhere, and cinema reached new highs and lows with Raging Bull and Xanadu respectively; meanwhile, the biggest hit of 1977 was about to come back, telling the continuing story of Luke, Han and Leia with a new screenwriters (Leigh Bracket, who wrote The Long Goodbye for Robert Altman & Lawrence Kasdan, for whom this was his first screenplay) and a new director (Irvin Kershner, whose most notable works besides this were Robocop 2 and Never Say Never Again, so this didn't quite pan out for him). What audiences were treated to was something darker, more Greek tragedy than space opera, with blurred lines between good and evil, open-ended conflicts and of course the most famous cinematic twist since Charles Foster Kane breathed his dying words. Though it garnered mixed reviews and won only one Oscar for Best Sound Mixing (how the hell the iconic Imperial March loses out to Fame is beyond me), it's since developed a devoted following and near universal adoration, ranking in the top 100 films for Filmsite, Empire Magazine (which ranked it #2, only below The Godfather) and the UK's Film Four (whose list it topped, besting The Godfather). Filled with nearly as many iconic moments as the original film, as well as introducing new fan-favorites like Lando and Boba Fett (introducing for its day, we've already chronocanonically met them), The Empire Strikes Back is referred by Star Wars fans, continually held up without question as the greatest Star Wars film of all time. So, the important question to ask is, does it hold up? Is it deserving of such praise?
Well, let's just address the fact that this column started on September 4th, three months ago to the day that this goes live, and now we're almost at the end. Two weeks until The Force Awakens. One more film to cover. It's been a hell of a ride, with a lot more content consumed then originally planned, a lot more readers than I could have anticipated, and I'm so thrilled you all joined me on this journey. I say all of that now, because I'm well aware my readership is about to take a steep, steep decline in one sentence.
The Empire Strikes Back doesn't really hold up.
Hear me out, it's not that I didn't enjoy it. It's still an enjoyable film, and it clearly functions well as a component of a larger story. Yet, compared to the original, previous installment, for all the darker, more mature elements Empire brings to the table, it's also a more stylistically bland, far less self-contained, and ultimately less eventful and significant film than the first (notice how little screen time it gets in Eclectic Method's excellent saga summary), more purposeless in its storytelling, less concerned with getting from the beginning of a story to the end than getting from point a to point b in order to set up the final chapter.
As heretical as it may sound to the OT reverent, Empire Strikes Back almost has more in common with that other middle film, Attack of the Clones, than it does New Hope. Rather than tell a singular story, half of the film is devoted to our hero (this time Luke instead of Obi-Wan) taking off to a strange new world on a mission of discovery, while the other half sort of meanders about with a duo we're supposed to believe love each other by the end because...Han says so enough? As poorly written as it was, George at least tried to create romantic scenes between Anakin and Padme, rather than have the origin of his trilogy's sole romance be a mix of It Happened One Night disdain and Goldfinger-esque "playing hard to get" (I'm just saying, there's enough fodder for a SJW's think piece there). Ultimately after a whole lot of nothing happens in the middle, the group is finally unites when our hero falls into a trap trying to rescue the romantic duo (as opposed to Clones, where the romantic duo falls into the trap trying to rescue our hero), and an epic, climactic battle unfolds so intense and pulse-pounding you forget how little occurred in the middle, somebody loses a hand, it gets replaced with a robot one, and then...it's over. Just like that.
Ok, ok. This is gonna seem like I'm being unfair. I know by this point in a column, I'm usually half-way through a synopsis. But with something as revered as Empire, you feel compelled to ardently defend any opinion other than that it's the all-time greatest Star Wars film (except Randal in Clerks, who never actually explains his preference for Jedi). To get on a Star Wars blog and say Empire doesn't live up to it's reputation is like walking into a room full of Latin majors and saying The Aeneid is overrated (which, by the way, it is, but that's for another time).
I also recognize some folks may prefer the staggered narrative and provocative but picayune plot points of The Empire Strikes Back over the singular, linear nature of A New Hope. I appreciate that some folks just enjoying seeing characters they came to love in the previous entry with a little less sheen, a little more grit, stepping a bit outside their archetypical roles. Yet, there's hardly enough character development in the film to make up for it's lack of substantive plot.
I could break down the plot of the film, but what is there to really say that hasn't been said? In a nutshell, you get an incredible battle on Hoth, followed by a fractured narrative divided between engaging if a little slow training sequences of Luke on Dagobah, where he encounters Yoda; and Hand and Leia on the run, pursued by Imperials, bounty hunters, space worms and lacking a single moment of any consequence to the overall arc of the film. Hand and Leia eventual arrive on Cloud City, where Lando Calrissian greets them warmly (but secretly has been colluding with Darth Vader, who for some reason waits an awkwardly long time to actually capture them, rather than pursuing them as soon as C-3PO discovered their presence). Luke senses their danger and takes off, despite not finishing his arduous (and a little bit tedious; even the most ardent Star Wars fan has to admit the fairly cool "cave" sequence also slows the pacing down to a screeching halt) training, culminating in Han being famously frozen in carbonite, Luke battling Darth Vader and receiving the ultimate familial revelation, and...a really underwhelming ending of Luke with a robot hand, Lando in Han's clothes, and not one fragment of any narrative conclusion.
Whereas A New Hope (and the forthcoming Return of the Jedi), are essentially structured in halves to propel the narrative, i.e. Part 1: Get the princess, Part 2: Blow up the Death Star, Empire is rather bookended by terrific moments, with languid purposelessness trapped between. The Empire Strikes Back isn't a dreadful film, and therefor can't be subjected to the meticulous critical ridicule I've applied towards, say, the prequel films. Yet, nor is it so phenomenal that I can heap more unabashed adoration upon it as I did A New Hope. Rather, its honestly a tad bit dull, shockingly dreary compared to its companion films, and strikingly empty, admittedly full of sound, spectacle and fury, but ultimately signifying...I mean, a great deal to a great many people, but honestly very little to the saga as a whole. Luke was trained to some degree by Yoda, who informs Obi-Wan there is another hope besides Luke. Han gets betrayed by Lando Calrissian and frozen in carbonite, taken by Boba Fett to Jabba the Hutt. Luke fights vader, gets his hand cut off and finds out Vader's his father. He gets a robot hand. That's it. That's literally all that occurs in the film that has any ramifications on the future of the story. The rest is just spinning the wheels, or perhaps more relevantly, racing the pods.
I'll admit, after "knowing" my entire life that Empire was the greatest Star Wars film, and arguably the greatest sci-fi film of all time as so many had hailed it, I was stunned to find how many points felt empty or seemed to drag, and how little joy I'd gotten from the film compared to the lively rush I received from its predecessor. In fact, watching it now, I find it shocking so many complained about a film like Avengers: Age of Ultron being a near-joyless affair that ultimately had little to offer beyond setting up the sequel when the film they tout as an "all-time great" is nothing but set-up for a sequel, with absolutely zero resolution to any plot point they introduce after Han cuts open a tauntaun. Alas, it appears the, at the time, rarity of a "gritty, serious" take on something so fantastic astonished in its day and bears still the remnants of that great reverence in an aura around it, and it takes some song objective viewing (perhaps only in such a scope as this project's undertaken) to notice the cracks in it's veneer.
Is the film worth watching? Of course It's still a good film, after all. Even for all its faults, The Empire Strikes Back has some incredible moments as its bookends, and the "I am your father" scene is one of the most iconic moments in American cinema. It's absolutely worthy of your viewing time, it's just simply that it might also be due for a reevaluation to determine whether it truly deserves the high praise it's routinely lavished with.
Well, thanks for checking in as I alienate a large portion of the Star Wars fanbase, folks.If you're not too furious, please check back next week as we take a look at the final film in the franchise so far, Star Wars Episode VI: The Return of the Jedi.
Three years pass between the Battle of Yavin, wherein the Death Star is destroyed, and the start of The Empire Strikes Back. It's clear from the second film a lot has transpired in between the two, and the majority of the new canon's expanded universe seems devoted to filling in those gaps (one full novel, two young adult works, three short stories, six graphic novels and counting). For the sake of this post, we'll only be discussing completed stories, in so far as the individual arc has been concluded. To date, the includes the first two arcs of both the Star Wars and Vader comics, as well as the Princess Leia and Lando miniseries. However, seeing as the Chewbacca miniseries will not concluded until late December, and the Vader Down crossover event even later, it didn't feel right to judge them as incomplete works. Overall, there are some weaker titles mixed in with some that really capture the tone of the series and expand the universe, but it's clear that the Lucasfilm story time was heavily involved in the development of these tales (particularly the comics and the YA novels), leaving a trail of breadcrumbs along the self-described "Journey to the Force Awakens" that may make the works less thrilling in hindsight once the secrets have been revealed, particularly if things like Sarko Plank and Caluan Ematt turn out to be more Opie sea creature than Qui-Gon Jinn.
Anyway, enough delay. We've got a lot of works to (spoiler-free) cover, so let's dive right in.
Smugglers Run
With a prologue and epilogue set before The Force Awakens serving as a framing device (Han setting down in a bar to tell a story about the Millennium Falcon), we launch into a story set immediately after the ending of A New Hope, with Chewie even clutching the medal we never see him awarded (explained, by the way by Chewie's interior monologue). Han's originally reluctant to take on the mission Leia assigns him, wanting to cut and run to clear his debts with Jabba, but when the Wookie hears tell of Caluan Ematt, whose Shrikes were seeking out new base locations when he found himself stranded on Cyrkon in need of rescue, he demands they take it. With an enemy in the form of a rather imposing imperial, Commander Beck (there's more females in this YA novel than in the entire film that precedes it), and engrossing locales like a domed city and a flying cantina, Smuggler's Run is a brief but enjoyable read, and while without mentions of the Force or any such mystical elements, the story has a very Firefly-esque quality to it, fitting a Solo-centric novel and keeping the action fairly gritty and grounded. Smuggler's Run is definitely worth a read, especially if you're as fond of the swashbuckling smuggler as I am. (Nestle also produced a motion comic for Smuggler's Run that functions as an abbreviated version of the story told from Beck's perspective, which can be found here.)
Princess Leia
Mark Waid, whose work includes the classic Kingdom Come and the current Black Widow title, takes on the titular Princess (who was also apparently a Senator, which throws out all my understanding of galactic politics), and delivers a thrilling tale of adventure as Leia goes off in search of the surviving Alderaanians. Kicking off immediately after the medals are handed out for the Battle of Yavin (At the ceremony, by the way, there's already a giant statuary memorial to the Organas, meaning they either managed to build a statue very quickly, diverting effort from dealing with the Death Star, which would be the greatest waste of resources and time since Batman decided a flaming bat was necessary; or they've had the statue on the base all along, meaning the Organas are so deeply, deeply entrenched in the philosophy and structure of the rebellion to be idolized, so Tarkin, while not justified, was more Harry Truman than Ho Chi Minh. Just sayin'), we get to see that though the rebels passion for the cause is strong, their feelings towards Leia is far more tepid and mixed. Setting out on a mission to rescue toe remaining Alderaanians scattered throughout the galaxy, Waid delivers an exciting tale full of lavish set-pieces, clever allusions to lore both Star Wars and other, and a surprising amount of character development for it's tragically short 5 issue run (I personally would have been down for an ongoing series of Leia tracking down her lost people). Princess Leia is definitely worth checking out, and bodes well for the Marvel titles going forward.
"One Thousand Levels Down"
Appearing in Star Wars Insider 151 (which is worth seeking out just to silently giggle to yourself as they writ about that promising new filmmaker Josh Trank, who was finishing up Fantastic Four and was set to do a standalone Star Wars film at the time. How little we knew then), this short story follows two Alderaanian children who'd immigrated to Corruscant years prior. Out of concern for civil unrest, the Empire was rounding up any former resident of the planet, causing the kids to go on the run. It's certainly not a terrible premise for the story, and the actual narrative beats are engaging. However, the story is hampered by just how uninteresting the characters are. The young boy is underdeveloped, and the sister, our main protagonist, is poorly written. We've seen, in most recently in Mark Waid's Princess Leia but even with characters like Asajj Ventress, that you can do the archetypical "icy" female character who surpasses their emotions and humanity to get the job done, but we need those hints they're human. We don't get any of that in the lifeless Ananda, who, I hate to say it, just seems cold and bitchy to the point where you don't quite care if they survive or not. Yes, "One Thousand Levels Down" is an interesting read, but its not an enjoyable one, and not at all necessary as such.
Heir to the Jedi
If ever there was a Star Wars novel that embodied the term "inconsequential", Heir to the Jedi is it. While the choice to write the novel in first-person, from Luke's perspective, is an engaging enough idea to keep you captivated at the start, the novel wanders aimlessly between seemingly unrelated events, like keeping you waiting for the inevitable Chekhov's lightsaber Luke uncovers in the first part of the book to return only for it to go unmentioned for the remainder of the story, making the entire initial adventure completely inconsequential to the rest; and this is ultimately true of each subsequent tangentially connected story within Heir to the Jedi. It feels more like a novelization of a video game, so frequent are the diversions and fetch quests that exist solely to pad out the narrative. Yes, we're treated to brief flickers o Luke's Jedi training, and he puts the lightsaber to use for the first time (decapitating an alien, which doesn't constitute "combat" apparently, since this novel (according to Wookiepedia at least) precedes The Weapon of a Jedi, the story of which is Luke's first lightsaber combat), but ultimately the novel meanders tediously, introducing characters too dull to make an impact, deflating promising moments (aliens that can drill through skulls, a Rodian descendant of a Jedi knowing about Anakin Skywalker during the Clone Wars) with a lack of purpose, and sticking to a narrative device that results in a limited scope and even more limited vocabulary. Much like Huulik's lightsaber, Heir to the Jedi feels like a relic from a forgotten time (the Expanded Universe, which the novel was originally intended to be a component of), ultimately purposeless, drifting through the cosmos amongst the other works. Take a pass on this one.
The Weapon of a Jedi
My admiration for Jason Fry has been made abundantly clear in my Servants of the Empire entries, and I'm pleased to report his talent hasn't diminished at all in tackling the OT (Original Trilogy) timeline. True, The Weapon of a Jedi lacks the heft of the Servants novels, but we get some great insight into Luke's mastery of the force, and some fun acknowledgement of things past, like 3PO chastising R2 for his "imagination" when R2 suggests 3PO swap heads with a battle droid, as he did in Attack of the Clones but can't recall due to a memory wipe; and things to come, as the menacing Sarco Plank, perhaps the coolest villain introduced in the novels thus far, is set to return in some capacity in The Force Awakens. With the intriguing concepts of a Jedi temple on Devaron (which you may recall is the temple where Savage Opress committed his slaughter in Clone Wars) and Luke's promise to return to the young Farnay (and 3PO's confirmation that he did in fact), I sincerely hope we see a return to this setting and the characters either in a direct literary sequel or as a sidetone within the upcoming films (though wouldn't it be totally wizard if Devaron is where Luke disappeared to perforce Awakens). The Weapon of a Jedi is definitely worth picking up, if not for the great pacing and satisfying story, then solely to wet your appetite for the upcoming films through Luke's conspicuous absence in the novel's prologue and epilogue. (Nestle also produced a motion comic for The Weapon of a Jedi that functions as an abbreviated version of the story told from Farnay's perspective, which can be found here.)
Star Wars Book I: Skywalker Strikes
The Marvel titles Star Wars and Vader run concurrently, and intersect frequently, so it's highly advisable to read both simultaneously, issue by issue, in the order listed by Wookiepedia, similar to how Buffy the Vampire Slayer and Angel were structured in their heyday (for example, the first three issues of Star Wars technically occur before the first issue of Vader). So how does Thor writer Jason Aaron's Star Wars book hold up? Pretty good. The first volume mainly focuses on an attack on a weapons compound and Luke going off on his own, so the story is terribly substantive compared to, say, Princess Leia or Kanan, but it's an enjoyable enough ride that helps to answer some questions about when certain revelations came to light between Episodes IV and V, most importantly the reveal of just how Vader discovered the extent of his lineage. There's also a surprising amount of twists Star Wars packs in without ever feeling like its stretching or ignoring the timeline. Everything about it fits organically, and its certainly a satisfying continuation of the story, if not a terribly remarkable one thus far. It is worth checking out, however, particularly when paired with its companion piece.
Darth Vader Book I: Vader
Kieron Gillen, author of one of the best Secret Wars titles (Siege) takes on the Sith Lord with brilliant blend of compassion and menace, presenting us with an array of colorful new characters, including a torturous protocol droid reminiscent of HK-47 from the no-longer-canon Knights of the Old Republic; as well as a Tank Girl-esque "rogue archeologist" who seems to be an almost-Imperial Ahsoka, which one can assume keeps her in Vader's good graces. One can't know for sure, however, as Gillen does brilliant work of taking us deeper into understanding who Vader is without ever truly letting us look inside his head, never making him vulnerable to the reader. Even when he receives word of his son's existence (through a great subplot that intersects both this and the Star Wars title), he's not wounded, but betrayed, and his incendiary fury smolders through the page. Building on the foundation laid out in Lords of the Sith for Vader and Palpatine's dynamic, Gillen finds a way to craft drama and intrigue between the two titanic partners in evil while never tipping the hat to strongly to what will be the ultimate fate of the duo in Return of the Jedi, making it a delight for fans both old and new. I cannot recommend the title more highly, it's easily the best Star Wars comic thus far.
Star Wars Book II: Showdown on the Smuggler's Moon
The second volume of the Star Wars series vastly improves upon the first, adding much more gravity and greater stakes for each of the characters, expanding the universe and introducing new characters both significant, namely Sana whose surname is both of question and excluded from this post to avoid spoilers, as well as simply entertaining: let's face it, if you're not delighted by either a one-eyed Gungan or a creature called Kongo the Disembowler, you've lost the ability to feel joy. Add in the payoff of Luke's quest for the Jedi Temple acting as a Hitchcockian suitcase bomb for those of us who've read the Sith-based novels, and you've got a thrilling adventure worthy of the series. Of course, its worth noting perhaps the most interesting part of the second volume comes in the form of a single issue, an entry from the journal of Ben Kenobi (yes, technically this single issue should have been covered in the "Between Revenge of the Sith and Rebels" post, but...look, I have no excuse on that one), a compassionate look at the solitary struggle of Obi-Wan Kenobi to abandon his jedi ways in his transition from Ewan McGregor vivacity to Alec Guinness wisdom. Certainly worth checking out, either issue by issue or when the trade paperback comes out January 26th, 2016.
Darth Vader Book II: Shadows and Secrets
To paraphrase the ski-instructor from South Park, if you don't like Aphra or 0-0-0, you're gonna have a bad time. Vader's relationship with the rogue archeologist goes even deeper this time around, as does his competition with his various rivals. There's a great deal of conspiring and underhanded tactics that create a more three dimensional Vader than any of the novels (who treat him too sentimentally) or film (who treat him more archetypical than interesting). Here we see a Vader who is cunning, intelligent, we see that Anakin Skywalker really was reborn as Vader, but the change was not solely a moral one. He became more focused, more driven, more powerful. Gillen dips even further into the well he'd established in his last volume, and while I can see how it could be off-putting to fans of the more straight-forward Jason Arron Star Wars book, I thrive off of the quippy lines of 0-0-0, and Aphra may be my favorite character since Ahsoka to stand alongside the lord of the Sith (Tarkin not-withstanding), so this second volume gives me more of what I love. Definitely worth reading, especially for some quality character moments as Vader begins to uncover more about the son he never knew he had.
Star Wars: Commander
Well, like most of the browser- and mobile-based games mentioned in this blog, this is "canon" because Wookiepedia qualifies it as such, since it was released after the date designated by Disney to mean it was. That said, this Clash of Clans for the galaxy far, far away doesn't have much in the way of substantial plot. There is a story, but given your option to join either the Empire or the Rebellion, it clearly can't be one of much significance to the overall arc of the saga, so it's best not to focus on that. As a game, its fun enough, engrossing without being terribly enriching, a serviceable entertainment for a mobile game, especially for those who prefer the strategic elements of, say Galactic Battlegrounds over the run-and-gun of Battlefronts. If gaming is your thing, or you just need something for the subway ride, Star Wars: Commander is worth downloading, though its inconsequentiality renders it unnecessary from an overall narrative perspective.
Lando
If I told you there was a Lando comic, unless you'd grown attached to him either through the films or his Rebels cameo (and subsequent short story), you'd probably ask "Why?". If I told you it was a mix of Ocean's Eleven and James Bond, would that do it for you? What if I added in that the first page features a post-coital Lando addressing a woman in bed, and he calls her "baby"? And let's toss in the fact that it massively expands Sith mythology, incorporates a pair of subtly gay characters, and makes you misty eyed about the famously inconsequential character Lobot? Impossible, you'd say, but much like Calrissian himself, Charles Soule beats the odds by blending all of that into a five-issue miniseries that makes you desperately wish for more, solidifying the titular character as one of the most badass bandits in the galaxy, a smooth-talker with skills and style to match. The only downside to Lando is its limited lifespan, as you can't help but want more adventures with the wise-cracking scoundrel. Easily the most humorous and human of the comics thus far released, Lando is a must read for fans of the character, and just those who love the idea of Spielbergian/Indiana Jones-esque adventures in the Star Wars universe.
"Last Call at the Zero Angle"
Jason Fry returns to the Star Wars universe once more, humanizing the Empire even further than he did in Servants of the Empire. Taking us inside an Imperial watering hole on base for the lower ranked soldiers, we get a sample of their slang, a taste of their rivalry, and even a few bars of their rallying cries (which seem lyrical similar to another organization's chant). It's also a beautifully crafted piece about the horrors of war in the guise of Star Wars lore, reminding you that no matter who's right or wrong, there's a cost to combat, humans beneath the helmets, and a story behind every soldier who goes down in the line of duty. An absolutely great read, it's worth tracking down Star Wars Insider 156 for.
"Inbrief"
The latest short to appear in Star Wars Insider (and the last until The Force Awakens makes its theatrical debut) focuses on the Twilight Company, the subject of the time-period spanning novel Battlefield: Twilight Company, heretofore ignored by this blog for the same reason as Lost Stars, it's years- or decade-spanning timeline which prevented easy placement within this current endeavor (but I promise to cover them in due time post-Force Awakens, dear reader). However, since this isolated story has a definite singular placement, it's worth talking about, and ultimately its also worth reading in so far as it achieves its goal: the story was clearly crafted to tease readers and entice them into purchasing Battlefield: Twilight Company, and despite the high price tag on the novel that's put me off to it until now, I desperately want to read it now. Despite being focused on the life of a bounty hunter named Brand, there's enough teased about the singular uniqueness of the Twilight Company as a whole to make myself, and I'm sure any other reader, curious to see just what makes them so different. If Fry's "Last Call at the Zero Angle" presents the human faces of Imperial forces, "Inbrief" tantalizingly teases the human faces of the rebellion.
Well, that's everything in between the Battle of Yavin and the start of The Empire Strikes Back that's thus far been released in full. Come back on Friday, when we take a look at the second film in the original trilogy, which contains the infamous familial revelation. See you guys then.
The year is 1977. Jimmy Carter has taken office, The Eagles have taken us to Hotel California while the Sex Pistols told us to Never Mind the Bollocks, and Smokey and the Bandit came roaring through cinemas while Diane Keaton sang "La dee da, la dee da". Yet, while Woody's masterwork of romantic comedy Annie Hall would take best picture that year (and as an obsessive Woody fan, I support this whole-heartedly, even though he deserved it two years later for Manhattan as well, if not more so), cinema was about to be changed forever when the guy who made American Graffiti decided to make his own Flash Gordon. The result was the revolutionary Star Wars, a breathtaking display of cutting edge special effects, dazzling cinematic techniques, and classical storytelling updated for the modern age. It's groundbreaking use of a "used universe" was a first for the genre, adding a sense of reality to the far-flung film that would reverberate in science fiction forever forward. A fairytale in space, a sci-fi bedtime story, a daring tale of good vs. evil, of brave knights rescuing princesses, drawing from the expansive pantheon of cinema at all ends, from Kurosawa (R2 and 3PO are modeled after two characters from the director's The Hidden Fortress) to Leni Riefenstahl (the final medal scene looks uncomfortably like Triumph of the Will), Star Wars was at once unlike anything anyone had ever seen and yet instantly familiar. It's astounding to think that the story, the dialogue, the visuals have in just under 40 years become as ingrained in the cultural vocabulary as Le Morte de Arthur or biblical lore.
Everything about the original Star Wars can be rightfully labeled as "iconic", from the score any person on the street can perform from memory, to the costumes that still grace doorsteps every Halloween. The classic film still entrances audiences to this day, capturing imaginations and igniting flights of fancy.
Quite obviously, I did not see the film when it debuted, but grew up with it, so much so I can't recall the first time I ever saw it (nor its two sequels). Of course, I've seen it since, leaving it on any time it comes on television, showing it to anyone who claimed they hadn't without the hipster-ish air of pride (pro-tip: never take pride in not knowing something. It's the s**tiest thing to be proud of), relishing in every retelling of the classic tale in homage and parody alike. Yet, I realized upon this re-vieweing that it had been a solid decade since I'd sat down and consumed the film completely in a single sitting, and though I knew the story backwards and forwards, was delighted to find several little moments and inflections that I'd forgotten, enhanced by the fresh history of the universe I'd brought with me to it, seeing how well the original film fit into a timeline with such a hefty array of media now preceding it.
Of course, with the myriad of alternate edits and editions out there, through George Lucas' continual tweaking to match his original vision, selecting which version of the 1977 space opera was difficult. Does one go with the latest special edition, carefully crafted to match the prequels in style, or the original theatrical cut? Indeed, there are almost as many different Star Wars' as their are Blade Runners, and though fans of both may bicker, there's no answer more definitively valid than any other. Some special edition changes I love (the Jabba scene added in, with it's clever way of getting around Harrison Ford "walking over" Jabba's tail, has always delighted me) others I loathe (the universally reviled "Greedo shooting first"), but ultimately they still tell the same story, and that's what truly matters.
In the end, I settled on the original theatrical release, if for no other reason than my own fondness for imagining something's inaugural experience. It's the same reason every time I lay the needle down on an LP of Sgt. Pepper's, I like to imagine what it was like to pick it up the day it came out, and be washed over with a masterpiece. However, it raises the question: especially in this new world of CGI, with 40 years of technological advancement and other filmmakers plucking from and building upon what Star Wars had done, does the original film, with all it's models and practical effects still hold up?
The answer is yes. A thousand times yes, and remarkably so. So much so, my notes throughout this viewing mainly consisted of gushing praise and "this film is flawless", much to the detriment, I'd imagine of this article. In the past, I've filled these posts with critiques, dissecting awkward moments, defending others, determining what could have been done to improve or "save" the film. Yet here, nothing needs changing, nothing needs tweaking. The film is truly flawless, a rousing adventure which never drags, never diverts. A masterwork of fantastic forward momentum, a rousing and swashbuckling adventure that truly earns its place amongst the greatest of all films, in the lofty Elysian fields alongside the rare perfect few like Lawrence of Arabia and Rashomon (and yes, Annie Hall too).
So, without much further fanfare, let's get to the immortal story of Star Wars.
I always say it, and even though I find it hard to believe anyone who'd seek out a Star Wars blog hasn't seen Star Wars, it must be said we will be discussing the entire story here, so spoilers will be abound.
It's hard not to anticipate that eruption of orchestration when you see the famous "A long time ago in a galaxy far, far away" ("A long time ago" meaning it can't be happening "right now" as the original trailer would have you believe), and when it happens, it is glorious. It sets the tone perfectly for what's about to unfold, and the brief opening scroll (penned in part by Brian De Palma) sets the stage (while stating that stealing the Death Star plans was the first victory for the rebellion, meaning the crew of the Ghost are ****ed). I, for one, love practical effects, forever favoring something like The Thing or 2001 over Avatar, so seeing those models fly past, particularly the looming Imperial vessel, gave me as great a chill as it likely did those original audiences on that fateful day in 1977. Peering inside the rebel vessel, the first face we see is remarkably not human, but rather a trio of droids, the familiar astro-mech R2-D2 and protocol droids C-3PO and...that silver one, who I'm sure starred in, like, 3 novels in the expanded universe (I'll concede, its hard to remember I don't need to introduce 3PO and R2, as even though this is their debut, in the context of this blog, we've already come to know them through three films and two television series). Rebel forces brace themselves to be boarded as stormtroopers flood through the door, followed by Darth Vader, who storms the ship in search of the woman he doesn't know is his daughter, Princess Leia Organa (why he can't sense her with the force....eh, I can live without an answer to that question for now).
Leia, however, has snuck off and implanted the schematics for the Death Star into R2, and when 3PO finds him (worrying they'll be shipped off to the spice mines of Kessel, where we saw the Ghost crew rescue the Wookies in Spark of the Rebellion), the two sneak off into an escape pod that Imperial forces let slip through their grasp, disregarding it as a malfunction since the scans show no life forms. Meanwhile, Darth Vader, opting to actually physically choke a man rather than force-choke him (but don't worry, that's a-comin') demands his troopers search the ship, and they eventually find Leia, stunning her and taking her prisoner.
It's when the two droids land on Tattooine that the film's shot choices become remarkable, especially with the prequel films taken in perspective. Whereas they relied on computer imagery to impress, here Lucas (and cinematographer Gilbert Taylor) the a much more cinematic approach, utilizing not just wipes reminiscent of old film serials, but zoom ins and POV angles blended with deliberately paced editing. The film is unafraid to linger on shots to allow us to soak up the atmosphere, especially when R2 is kidnapped by Jawas and trapped inside the vessel with the other droids, nor is it afraid of silence. Despite being in possession of what would become the most revered film score in history, Lucas knows when to use it, opting instead to let a moment like the capture of R2 to be noiseless, but for the whispering of the Jawas.
The Jawas take their wares to the familiar homestead we last saw in Revenge of the Sith, where a much older Owen Lars and his nephew Luke seek two new droids for their farm. Selecting 3PO but not R2, luck (or the force, or I'm sure some twist of fate expounded upon in 8 expanded universe novels the droid probably starred in)would have it that the droid they selected had a bad motivator, allowing the duo of droids to be reunited. Luke, as many viewers forget, as a bit of a petulant teen, every bit as whining and angsty as Hayden Christensen's Anakin (making Hayden's choices totally appropriate to the role, but nobody cares about that because it was the 2000's and it wasn't "kewl"), and while cleaning the droids, discovers the message Leia hid inside R2 which leads to two very awkward moments: Luke describing his sister as "beautiful" (I know he doesn't know, but in retrospect, that's gonna be awkward for him), and C-3PO straight up admitting he's been part of the rebellion.
Let's just take a moment to acknowledge that had they wound up in the hands of someone with stronger Imperial allegiance, the entire rebellion would be over; they would have been turned over to Imperial forces who would have recovered the plans and extracted whatever information they could from the droids (just like Cad Bane did during the Clone Wars) and defeated the rebellion swiftly and mercilessly. Come to think of it, considering the amount of times 3PO has been captured, compromised or otherwise endangered the mission, he's actually a colossal liability that Bail Organa is being insanely reckless for continually involving in crucial missions (not that Bail's poor strategic thinking is going to matter much more anyway, but we'll get to that).
As it is, Luke just tells his family that the R2 unit used to belong to Obi-Wan Kenobi, and wonders aloud whether he's related to Ben Kenobi, while Owen and Beru exchange knowing looks. Meanwhile, R2 has gone out in search of Obi-Wan, leaving Luke and C-3PO to give chase, pursuing the droid until they're attacked by Tusken Raiders. Luke is knocked unconscious and his ship almost torn apart when Obi-Wan arrives, waving his arms and uttering an animal cry that we've never once had any indication he could make up until this point. Knowing that Lucas had originally intended the role for legendary Kurosawa collaborator Toshiro Mifune, who always brought animalistic elements to his performance, it would have been interesting to see how scenes like this would have played out with him in the role.
Obi-Wan reveals himself to Luke when he regains consciousness, explaining who he is while denying he ever owned a droid (yet giving R2 a look of surprised acknowledgement, shocked to see the astro-mech again, and throwing a wrench in the complaint of "Why doesn't Obi-Wan recognize R2 in New Hope?" from prequel whiner Amblin kids), and takes Luke back to his home where he explains that he knew his father, presenting him with Anakin's old lightsaber, and explaining that Anakin was killed by Darth Vader, his former pupil, which we know is a lie, even from a certain point of view. Now, of course, seems the appropriate time to acknowledge the masterful work of Alec Guinness (a key component of so many of my favorite films, from Lawrence of Arabia to Kind Hearts and Coronets), who just knocks it out of the park in even the smallest of moments, like watching the full hologram of Leia asking them to deliver the plans to Alderaan.
Obi-Wan asks Luke to join him in the journey to Alderaan, but Luke initially refuses and heads home. However, upon arrival he finds the homestead destroyed and his relatives disintegrated, presumably by Imperial Stormtroopers as Obi-Wan suggests, trying to disguise their actions as Tusken Raiders, which doesn't make much sense considering the modern stormtrooper's aim isn't the accurate sharpshooting Obi-Wan remembers the clones having, and they have no interest in killings, even less in covering them up, and it's even harder to believe Vader would just suddenly decide to off his relatives after all this time, which lends credence to the most believable Star Wars fan theory of all time. Luke and Obi-Wan head to Mos Eisley in order to find a ship to take them off-world, and are stopped by stormtroopers searching for 3PO and R2, leading to one of the most famous scenes in film history, the Jedi mind trick, which Guinness executes brilliantly given how silly it must have seemed to him at the time.
They arrive at the cantina, the droids are told to wait outside (eventually hiding behind a locked door that stormtroopers decide isn't worth unlocking in their search for some reason), and we're treated to one of the most beloved songs in the series, as well as some memorable aliens (and one werewolf mask). While Obi-Wan talks with Chewbacca, Luke gets into a tussle with two patrons, leading Obi-Wan to intervene with his lightsaber. Weirdly, everyone in the cantina seems pretty cool with a guy in robes having a lightsaber, considering how weirded out everybody is by Kanan and his blade a few years' prior. Anyway, Chewie takes them to meet Han Solo, who from his first moments is already the coolest character in the history of Star Wars. From the swagger he has talking about the Kessel run to the way he later plays with the wall behind him while slowly removing his pistol from its holster to shoot Greedo (unprompted, mind you, the way it should be) who comes to him to collect his debt to Jabba, Harrison Ford just oozes cool, and opposite the regal dignity of Alec Guinness and the youthful vigor of Mark Hamill, its here where the film's energy comes together and launches it swiftly into the pulse-pounding second act. Within a matter of moments, the group are fighting off stormtroopers and boarding the Millennium Falcon (the single greatest Star Wars ship of all time. Screw the Slave 1), hitting their hyper-drive for one of the coolest visual effects in the entire series, and arriving at Alderaan only to find it gone (while finding time for some Holochess and Jedi training that Han dismissively mocks along the way, of course).
You see, while aboard the Death Star, Leia is subject to a series of interrogations, some involving the sinister torture droid (which her father directly oversees, mind you), yet refuses to give up the location of the rebel base until Grand Moff Tarkin (played with sinister relish by Peter Cushing) determines a better means by which to ascertain the location. Leia is brought to the bridge of the Death Star (and speaks with a slight accent that in my mind is used to mock Tarkin and totally isn't the one big weird flaw in an otherwise perfect film) where Tarkin threatens to demonstrate the full power of the station by destroying Leia's home planet of Alderaan unless she reveals the location of the base. Eventually, she confesses that the base is located on Dantooine (which, let's remember, it isn't, so she essentially sold a totally innocent planet out), but Tarkin decides to destroy Alderaan anyway.
A lone TIE fighter tips them off to the location of the Death Star, and their ship gets caught in the tractor beams, leaving them no choice but to hide beneath the floorboards of the ship and wait until the initial search crew leaves the vessel. Then disguising themselves as stormtroopers (for the record, the subtle bits of humor used to cover up potential plot holes, like Luke signaling his comm not working to the guy in the control room, are just brilliant)and infiltrate the Death Star. Obi-Wa breaks from the group to shut down the tractor beam and confront his former pupil while Han, Luke and Chewie set off for the princess, at first pretending to have captured Chewie, then abandoning the ruse when they reach the prison level, opting instead to shoot every camera and person in the room in a jarringly destructive scene leading to the finest piece of supposedly improvised dialogue in the entire franchise, Han Solo responding to an Imprial inquiry with "We're all fine here, now, thank you. How are you?" before shooting the console saying it was a "boring conversation anyway", which is the kind of casual, fun humor that was in very short supply in the dim, dirge-like prequels, but helps the film come alive.
Indeed, that's the beauty of the original Star Wars, how it blends the classical and the modern. Yes, at its core it's the classic orphaned knight saving the princess, but it tosses in a smuggler cowboy. It's a rebellion against an evil Empire, but it's in space, with laser guns and robots. It's dialogue always walks a thin line, never two steps away from the classically dramatic or the casually conversational. It's writing follows the same principle as it's production design; the used universe. Stanley Kubrick's 2001: A Space Odyssey is by far the more "realistic" of the two, it's physics and fictional reality rooted heavy in our own, meticulously researched and even utilizing current brand names like Pan-Am, while Star Wars couldn't even use the word "parsec" right (though George has suggested it's intentionally misused to show what an arrogant blowhard Han is, and I like that explanation, so I'll believe it). Yet, it's Star Wars that feels more real, in part due to the dirty, used world we see as opposed to the sterile white walls of Kubrick's film, as well as the warmth and honesty of the dialogue. Luke talking about power converters at Toschi station (terms that reportedly perplexed Hamill at the audition, though he tried to read them "sincerely" which won him the role over the guy from The Greatest American Hero) or Leia screaming about rebel bases on Alderaan feel more honest and real than William Sylvester's daughter saying she'll see him next Wednesday. It blends the fantastic and the honest so well that throughout the film you feel as though you're watching you're old friends become fairytale heroes, watching archetypes come alive in a way both modern and timeless.
Luke rescues Leia, and the four are pursued by stormtrooper, with no escape plan, until Leia grabs a blaster rifle and shoots their way into the garbage disposal. Now let's just address the fact that the garbage disposal scene is hands down the least consequential scene in the entire film, as it does nothing to advance the plot, nor develop any of the characters. Yet, I have no qualms with this moment, as opposed to the myriad of inconsequential scenes in the previous films for one simple reason: It's fun. It doesn't slow down the pacing of the film at all, it adds some extra thrills and never overstays its welcome. Yes, sure, there's no real stakes to it, as you know the film isn't going to kill the hero or the princess or anything, but it's essentially the James Bond principle: you know they're gonna survive, you just wanna see how.
While the quartet reunite with the droids and make their way to the Millennium Falcon, Obi-Wan confronts his former apprentice, Darth Vader (though thus far there are still gaps in the timeline between Rebels Season 1 and this film wherein some interaction could have occurred, presumably this is the first time Obi-Wan has seen Anakin in his robotic suit, which he seems strangely unfazed by. I can understand reaching out with the force and all, and perhaps the one "From the Journals of Obi-Wan" issue of the Marvel Star Wars comic fleshes this out, but Obi-Wan went from watching his apprentice burn, leaving him for dead and never even knowing his Sith title to just sorta going "Yeah, Darth Vader, robot suit, I'm the only person who knows your real identity. Cool. Lightsaber fight?"). Though their lightsaber fight lacks any of the acrobatics seen in the prequels, there's not force pushing or backflips (indeed, there's one spin in the whole thing), it's still utterly enthralling, and that's in no small part due to the commitment Guinness brings to what would ultimately be his final scene, bringing a Shakespearean gravitas to both his combat and his ultimate sacrifice, when he lifts his blade and focuses on the lessons he learned from Qui-Gon (as Yoda instructed him to at the end of Revenge of the Sith), disappearing at the moment of his death, causing enough of a distraction to let the group of rebels escape, though of course letting them escape was always the plan, as Tarkin and Vader planted a tracking device in their ship to find the rebel base (which, again, is totally not on Dantooine, a likely peaceful planet full of children Leia sentenced to die to save the probably super-guilty of treason Alderaan since their leader Bail straight-up founded the rebellion but hey, whatever).
The group make their way to the rebel base on Yavin 4, where General Jan Dodonna explains the attack strategy for the Death Star, that it's invincible save for one very small exploitable weakness (and every video game designer who had to make a boss fight suddenly cried out "Eureka!"), and Luke criticizes Han for abandoning the cause, which is weird considering a few hours ago Luke was stoked to join the Imperial pilots academy, and now he's acting like they all live for the rebellion, but then again Luke is a whiny, emotional, entitled teenager just like his father (which, once again, means Hayden was just following the blueprints of the old films). Luke straps into his X-Wing, along with a childhood friend of his we'd never seen before (though the special edition actually restores a previous scene with Biggs that makes his ultimate death far more powerful, just to show all the special edition changes aren't sinful), and the fleet of X-Wing pilots take off for the Death Star, which approaches Yavin 4, arming itself to destroy the planet and wipeout the rebellion outright. The pressure is on in this ticking time bomb of a dogfight, and everything from the detail on the models to the shot choices and camera movement (the swoop into the canyon is a personal favorite), and the disembodied voice of Obi-Wan encourages Luke to use the Force. With Darth Vader hot on his tail, things look rough for Skywalker until Han returns, blasting the TIE fighters out of the sky, sending Darth spinning into space, and inexplicably not jumping out of his ship and kicking ass like he did in Lords of the Sith for some reason, nor using his three films worth of established piloting mastery to right the ship and continue his pursuit. Hey, we'll just attribute it all to the Force, the same way Luke does with his making the impossible shot without his targeting system on.
Of course, the shot lands just as Tarkin tells his crew to fire when ready (as Tarkin has swiftly become my favorite character, it saddens me to see a little scene I'd heretofore forgotten where he has the opportunity to evacuate and doesn't. I and by my belief that Tarkin would have made a better Emperor than Palpatine), destroying the Death Star and securing the momentary safety of the rebel alliance. In order to commemorate their triumph of the will, Luke, Han and Chewie are honored in a special ceremony, where the rebellion decides to squander valuable metals they could have used for weaponry of repairs in order to make a ceremonial gesture, and then the classic score returns, a final wipe explodes across the stars and in the middle you see the blue center light of the "Directed by George Lucas" credit pop and everybody goes "Awww!"
That's how it ends, brilliantly capping off the film by making it feel both a part of something much greater and ultimately also self-contained (the only film in the franchise to do so). As I'd stated above, everything about the film is iconic, and rightfully so. It's a masterclass in how to create fun, adventure cinema, matched only perhaps by Raiders of the Lost Ark and The Man Who Would Be King. Somehow, all the stars aligned for this film, creating an endless array of memorable moments and characters, utilizing the whole vocabulary of cinema to create something akin to a whole new language, standing like a gatekeeper alongside Jaws to usher in a new era of fun filmmaking. My typical "Is it worth watching?" is silly to even ask for this entry. It goes without saying, not even fawning as a fanboy, that Star Wars is essential viewing for anyone who wants even a passing understanding of the American, or even global, cinematic landscape, and the broader popular culture as a whole. A landmark of American filmmaking and imagination, Star Wars deserves both its legacy and its inevitable immortality.
Well, that's all for now. If time permits, check back in midweek to see a quick catch up on everything that came between Episodes IV and V (which includes several comic book titles, some short stories, two YA books and a full novel, not to mention a mobile game), then come back next week for perhaps the most esteemed entry in the entire franchise, containing cinema's biggest twist since Rosebud, Episode V: The Empire Strikes Back.
Well, ok, the title of this post is a little misleading. Yes, its a bonus entry between Rebels Season 1 and Star Wars Episode IV: A New Hope. However, the things we're about to discuss don't necessarily take place between the two. Indeed, at least according to the timeline on Wookiepedia, all the below take place during the course of Rebels Season 1. Some, like the Servants of the Empire novels, have a definite placement within the timeline working off of or intertwining with episodes of the series, while others, like the video games or the Rebels Magazine comics, exist somewhere within the canon, but their definite placement is unknown. In lieu of simply going in order of publication, I intend to follow the order as listed on Wookiepedia's timeline, though again, these could take place at any point in the Rebels timeline.
Rebels Magazine, you may wonder? What's that? Well, though it just saw its first issue in the US as of this writing, Titan Publishing has actually been releasing a kids' magazine specifically for the show in the UK for some time now, and amongst the puzzles and and factoids each issues rests a comic detailing little adventures undertaken by the crew of the Ghost. Thus far, the only comic available in America is "Ring Race", published in the first issue, but I may happen to have overseas connections, and therefor got my hands on all there was to get, so my vow to cover the entire canon will still hold true, dear readers (I know, I know. Had I not been sure to discuss "Senate Perspective", there would have been riots in the streets).
Well, clearly we have a lot of ground to cover, and not much time to do it, so without further ado, let's dive right in.
"Learning Patience"
So one thing to accept is that, given its placement in a kids magazine, these comics are going to be a little cutesy and kiddish, more so even than the show, introducing the premise and in 12 pages resolving it, typically with some Archie-esque punchline eliciting more an "Aha" than a laugh. That said, they do seem to have a firm grasp on the characters and the tone of the show, as this little story of Ezra learning the value of patience in mastering the force displays. Hell, it captures the essence of Rebels so well that when Ezra is exercising his force abilities, you really do feel like you can hear that classic John Williams theme. I won't say "Learning Patience" is essential reading, as it doesn't necessarily add to any of out understanding of the characters, but it is a fun little adventure with the crew we've grown to love, and it feels in line with the show in a way few tie-in comics ever do with their source material, so that alone makes it worth the look.
Servants of the Empire: Rebel in the Ranks
Rebel in the Ranks picks up where Edge of the Galaxy left off, with Zare entering the Academy, and proves to be an incredible page turner, far surpassing its predecessor. No longer bogged down by grab-ball games and set-up, we dive right into the schoolyard strategy and interpersonal politics that exist within the Imperial ranks. Rebel in the Ranks ties into the Rebels episode Breaking Ranks, and fleshes out just how it is Ezra manages to sneak into the Academy, both by showing interactions between Ezra and Zare we didn't see in Rebels and more interestingly giving us the same scenes from the episode, but now from Zare's perspective. If I may indulge in a little spoiler, the idea that Dhara was taken for the same reason Jai almost was, her Force sensitivity, makes for an interesting twist (You know that Dhara always being about to find Zare in a crowd had some thematic significance, but I for one didn't anticipate the Force). Perhaps more interesting is the fact that Zare lacks any ability whatsoever with the force, dispelling the idea that its inherently hereditary (to date, our only knowledge of the familial history of the Force adept are Anakin, who was an only child, and Luke and Leia, who both inherited the gifts of their father). Rebel in the Ranks works both as a satisfying companion piece to Breaking Ranks, filling in every plot hole in the episode and providing a new and introspective perspective on the high-flying, swashbuckling antics of the rebels, and also serves as a wonderfully engaging novel on its own. Well worth reading.
"Kallus' Hunts"
Instead of focusing on the Ghost crew, "Kallus' Hunt" makes the titular Imperial officer our focus, and to great effect: we find him in pursuit of a disloyal Imperial agent, but not a rebel. Instead, he's after his former mentor, whose crimes were embezzling and cheating the Empire to feel his own greed. Never before have we been treated to a conflict in the Star Wars universe where we didn't quite know who to root for (even with the Republic eventually becoming the Empire through the charade Clone Wars, the films still went to great lengths to show you who the "good guys" were). For all intents and purposes, Kallus is the hero of the story, setting aside emotion for the sake of the greater good, bringing a criminal to justice, with no sign of the Empire's nefarious nature on display. "Kallus' Hunt" may be a brief little flicker of a story, coming in at only 12 comic book pages, but it provides a very different perspective on the Star Wars universe, and one that provokes a little bit of thought, which makes it worth trying to seek it out. It can be found in the fourth issue of Rebels Magazine (which should be out in the US in approx. 6 months from the date of this writing; it's also probably somewhere on the internet if you know where to find such things, not that I'm encouraging such behavior, of course).
"Ring Race"
Originally appearing in the first issue of Rebels Magazine, "Ring Race" is an amusing if mildly cliched "risky race" story, where Hera must use her superior piloting skills to attempt to save the crew's hides when a wager tips out of their favor. It's fun, but non-essential.
"The fake Jedi"
"The fake Jedi" contains a curious idea (though not more curious than its choice of capitalization in its title) of what might occur if one were to find some Jedi accouterment after their mass slaughter during Order 66. The comic is the first to really go for it in terms of violence and consequence, which is impressive considering how, while the comics have consistently matched the tone of the series, they've lacked some of the gravity until now. It's an enjoyable read, but as was the case with some of the others, it may not be worth the headache of seeking it out until it comes to the US.
"Return of the Slavers"
Well, I'm a big Sabine fan, so you tell me a comic is going to have Sabine undercover to infiltrate a slave trade, I'm on board. Like the others, its a brief trifle of a comic, and could well have been the seed for a whole episode of Rebels, but in this particular instance I do sincerely wish that seed had had the opportunity to grow into one. It's not that I simply want more of a character I enjoy, its that parts of "Return of the Slavers" feel very rushed, and key points that could have been explored in full length episode are dashed away in a single line. It's not a bad comic, per se, its biggest flaw in fact is that the story itself is of such quality that one finds themselves wanting there to be more.
"Eyes on the Prize"
"Eyes on the Prize" feels somehow shorter than every other comic, with very little story itself to speak of, but it makes up for it in the form of two bumbling bounty hunters. The most outright humorous comic thus far (I won't go so far as to say it warranted outright laughter, however it did elicit a good deal of internal chuckles), the constant facts about Jedi the two spout make one want for more, and seeing a Jedi mind trick for the first time since the Clone Wars series is a nice touch as well. It's hardly essential reading, true, but I enjoyed it for what it was.
Rebel Strike
Rebel Strike is a browser-based game released by Disney, considered canon by the same standards Ghost Raid was, though Rebel Strike is a far more advanced and engaging game. A turn-based light RPG which allows you to upgrade your team and strategize your movements, there isn't so much a story as a frame to set up the various puzzles. Nothing narratively truly effects the overall story of Rebels, proving to be just another encounter between the crew and Aresko and Grint. That said, its certainly a fun game, mildly challenging, and you'll find yourself saving the in game "credits" in order to upgrade your favorite characters. Completely non-essential and inconsequential, but worth a shot if you're fond of the series.
"Sabotaged Supplies"
First off, any time Tarkintown gets brought up, I'm on board. The materialization of economic disparity in the galaxy takes its name from the real life Hoovervilles of US history, and the sheer fact that Rebels chooses to show the Empire's main crime not as planetary destruction or fantastic feats of military might, but as failing to prevent, and indeed willfully ignoring the poverty of its people is powerful. The story of Zeb going rogue to protect people he feels he's brought harm to, though never outright said, speaks to his ever-present guilt over what happened to his people. It's a worthwhile read that puts both Zeb's sense of honor and Kallus' ruthlessness centerstage.
Servants of the Empire: Imperial Justice
I've had some high praise for Jason Fry's previous two novels, but Imperial Justice far exceeds them, going so far as to transcend it's Young Adult branding and prove itself to be a distinctly great piece of Star Wars literature, utterly engrossing and oddly thought provoking. Fry has always been good at exploring what life is like for the Imperials, but here he raises ethical questions we've never considered before in the franchise about what's truly right, and whether the Empire is inherently evil or merely suffers from cruel leadership. Exemplified by Zare's internal conflict over taking pride in his achievements within the academy, fearing he may forget his playing the role of the good soldier is merely an act, to the tactical disparity between the empathetic Zare and the ruthless Oleg, the latter of whom refuses to lift the mask of his helmet in order to appear faceless and intimidate those he apprehends, while Zare opts to remove his helmet completely, trying to comfort the innocent children subjected to Imperial tyranny. Mixed amongst the fast-paced storytelling of Zare dodging inquiry after suspicious inquiry and Merei drawn further and further into the murky criminal underworld of Lothal, we get the first-ever love triangle in the Star Wars canon, as well as a genuinely heartbreaking and honest depiction of the dissolution of a relationship. It's astounding the quality of work Fry has been able to produce within the confines of the genre, with Imperial Justice ranking only below Tarkin amongst all the Star Wars literature, in my personal opinion. It's a must read that paints a brilliant portrait of the other side of the galactic conflict.
Recon Missions
Recon Missions is a freemium mobile game ("mium" is Latin for "not really") with even less "story" than Rebel Strike. The controls leave something to be desired, and were it not for the placement of Rebels characters within the game, you wouldn't know it was Star Wars related at all. It's simply the objectives of collect and kill, which would be fine if the in game currency allowed you to do more than purchase decor for your hide out. Everything else you could want, from more missions to play to being able to utilize any character besides Ezra, you have to pay for with actual money. Not gonna lie, I'll pay for Star Wars. I'll buy the magazines to read the short stories, I'll drop the $7 a piece on young adult novels, I'm down for all that. But I'll be damned if I'm going to micro pay my way through a game for perks, especially when there's no engrossing story to spur me forward, no big reveals on the horizon. While Recon Missions does have little enjoyable moments (the inclusion of Ahsoka as a potential playable character is a nice touch), the restrictions on the "free" version makes it an increasingly frustrating experience to plow through. Unless you're a hardcore Rebels enthusiast with money to burn and a lot of time on public transport to kill, you can skip past this one.
"Ezra's Vision"
The idea of a shape-shifter aboard the Ghost trying to collect a bounty isn't a bad one per se, but "Ezra's Vision" does very little with the potential, in part due to its limited page count robbing it of much opportunity for any slow-burn tension a la The Thing, and instead plays out as perhaps the most forgettable of the Rebels comics thus far.
Servants of the Empire: The Secret Academy
Few descriptions are more cliche than calling something the "thrilling conclusion", but its fitting for The Secret Academy. Brief in page count but as dense as a full novel, the conclusion to Jason Fry's stellar Servants of the Empire is a masterpiece of YA tension, splitting the book into three parts, giving us Zare's story right up until we really want to know what happens next, then switching gears to check in with Merei before wrapping it up with a third act so lean and engrossing its impossible not to let your mind conjure up the images, complete with score. To get into plot details would risk spoiling the entire series for those who haven't read it, and I do thoroughly encourage everyone to check it out (though I do love that they provide an explanation as to why the Empire switched from clones to regular people: clones all have the same genetic make up, and therefor the same weaknesses to germs and other ailments). It's surprisingly thought-provoking series, with a marvelously paced and vivid finale. Pick these books up ASAP, they're well worth your time.
"Rebel Bluff"
Lando Calrissian returns to Lothal for a sabacc game gone awry in "Rebel Bluff", a short story that makes one long for a Lando TV show (and makes someone like myself thankful for and looking forward to the Lando comic book series from Marvel). Michael Kogge one of Star Wars' most iconic and under-explored characters, building upon the work done in Rebels (the story takes place after his appearance in the series) and showing the balance between hero and scoundrel Lando continually straddles as his roguish ways take him to Tarkintown and trap him in between Imperials he wants to avoid and innocent people in need of help. It's an enjoyable read, leaving itself open ended for more adventures with the character. It's hardly essential reading, true, but if you enjoyed what you saw of Calrissian in Rebels, you're definitely going to want to check this one out.
Kanan #6
Let's be clear right off the bat: despite being the conclusion to the Last Padawan story-arc, even being referred to as the "Epilogue", there's nothing terribly conclusive about this issue. That's not to say it's poorly-written; in fact, it may be the best issue of the comic thus far, with a real appreciation for wordplay (when Kanan reveals his new name to a certain someone from his past, he feigns mishearing him and asks whether he said Jarrus or Janus, the latter being the name of the two-faced Greek god of transitions and new beginnings). However, it ends on a cliffhanger, leaving us with no real resolution for the "present day" storyline presented in The Last Padawan. The next arc focuses on Kanan's first mission during the Clone Wars, but presumably continues the "present day" story as well. Kanan #6 is a great issue, and truly makes one hungry for the next arc to see where it goes, but that said, in terms of getting a full single story (going by trade paperbacks instead of waiting issue by issue), #6 raises more questions than it does answers, and one may be better off treating only the first five issues of the comic as the first arc and skipping it for now (at least until the second arc has reached its conclusion).
"Senate Perspective"
Giving us a new, forgive the term, perspective on the Star Wars universe, this comic finds Hera and the crew rescuing a marooned Senator, who greets them with hostility as they try to dispel the misinformation the Empire has put forth about them. The most interesting aspect, however, is when Hera asks the Senator how many of her votes were enacted. We've never really been shown before the political machinations of the Empire, and we discover here that Senators are not only in the dark about life on their respective worlds, but indeed are left in the dark about whether the legislation they enact actually goes into effect at all, reducing them to little more than figureheads putting on a show for the public. Of course, its plot goes pretty much how you'd predict, with the Senator seeing the light and helping the rebels escape the clutches of the Empire, but that little kernel of background information, that little slice of "senate perspective", fleshes out the universe exponentially, which makes it worth the read (well, I guess not as much since I already said the big reveal, but still...)
Alright, guys, that about wraps up everything to date that occurs between Rebels Season 1 and the original film, with the exception of half of Season 2, which didn't feel right to talk about until the entire season was concluded, and the 7th issue of the Kanan comic with was not discussed for the same reason (ok, and two issues of the Rebels Magazine that were impossible to track down, but in my defense, Wookiepedia doesn't even have entries for those comics). Check back in Friday as we hit the final run, the original trilogy. Get excited, guys. We're almost there.
