When it comes to filling out a home video library, today’s consumer has more options than just a few short years ago. The popularity of the DVD format has overflowed beyond a small niche of videophiles and A/V gearheads, and is now attracting the casual consumer who enjoys movies, but may not have his or her den lined with the latest bone-shaking sound system and crystal clear plasma screens.
As a result, the choice of purchasing a full screen edition versus a widescreen edition of a movie is sometimes filled with confusion or misinformation. Aspect ratios can get even the most avid movie buff momentarily confused when terms like “4 x 3,” “pan-and-scan,” “2.35” and “cropped” are casually thrown about.
Come November 12, Episode II Attack of the Clones will be available on DVD in both a full screen and widescreen edition, and on VHS in full screen. Starting November 1, Episode I will be reissued on DVD, this time in a new full screen format. For those Star Wars fans that aren’t completists, which version is the right one for you?
A widescreen edition of a movie presents the film frame as it was seen in the movie theater. Since a movie screen is a wide rectangle and a television screen is more like a square in shape, the movie image has to be sandwiched between two black bars to fill up the space, because you can’t fit a rectangle into a square and fill it. This is also referred to as the “letterbox” format.
A full screen edition of the movie does away with the black bars, and instead fills your television from top to bottom with image. However, since it’s impossible to cram a rectangle into a square, the sides of the film frame have to be chopped off (or “cropped”). You’re only seeing a portion of the entire image, but that image at least fills up your television screen. This is what the disclaimer “This film has been formatted to fit your TV” means. It is also known as “pan-and-scan” format for reasons explained later on.
Most film enthusiasts will point you towards the widescreen edition. This is the version that best preserves the filmmaker’s original intent. You get to see the entire frame as it was envisioned; nothing gets cut out. Considering how visually dense a Star Wars movie is, scenes like the Geonosian arena, the Clone War ground battle or the Coruscant speeder chase are jam-packed with characters and action, so cropping the image invariably results in losing some intricately-designed detail. Easter egg-hunting viewers won’t be able to find the X-wing and TIE fighters in the full screen Episode II DVD, for example; they were cropped out of frame in order to fit the more important action on the screen.
But widescreen takes up valuable screen real estate with those black bars, and that annoys some. A viewer with a small television screen would be able to see the whole film frame, but at the cost of image size. With full screen, what’s visible is bigger and in a higher resolution. Sure, you see less of the total image, but you are “closer” to what you do see. Some viewers think full screen provides a more engaging experience, especially in dialogue scenes, since the characters are bigger in frame, and you can more closely study their performances.
The disparity between screen sizes is the result of a battle for viewers that has been waged between the big screen of cinema and the small screen of television. Many wonder why the TV was designed as a square since most movies are rectangular in shape.
It didn’t used to be that way. When televisions began to spread in 1950s, the square image area of the small screen was proportional to what you’d find in your local cinema as well. So, don’t bother trying to hunt down that elusive widescreen edition of Citizen Kane — movies of that vintage just weren’t as rectangular. Their then-standard size determined the aspect ratio used in the manufacturing of televisions.
History of Aspect Ratios
The term “aspect ratio” refers to the ratio of the width of the screen compared to its height. A standard television’s aspect ratio is 1.33:1. That means it’s 1.33 times as wide as it is tall. This is also sometimes referred to as “4 x 3,” because mathematically, for every four inches across, your image is also three inches high.
Movies started to get wider and wider in order to attract television viewers back to the theater by delivering a truly unique experience. It was 20th Century Fox that developed the CinemaScope format, which became a standard in the ’50s and ’60s. Star Wars fans are very familiar with the rolling snare drum and horns that signify the start of a Star Wars movie. That extra flourish added to the end of the Fox Fanfare, which accompanies the Lucasfilm logo appearance on the screen, was originally used to denote movies shot in the CinemaScope format.
The term CinemaScope isn’t used much anymore, as the Panavision process gave its name to that particular aspect ratio. Though other aspect ratios exist, most movies are either 1.85:1 (called Academy Flat) or 2.35:1 (called Anamorphic Scope, Panavision or CinemaScope).
All Star Wars movies are shot in Anamorphic Scope, the wider of the two ratios. Transferring them to the television screen requires plenty of black-bar space in widescreen format, or plenty of cropping in the full screen format. Anamorphic Scope is so wide that even the newer widescreen televisions still need to put some black-bar space in order to fit it all in.
It was only until recently that video consumers began demanding a choice. Full screen was the standard for years for videocassette editions and television broadcasts of feature films. As a result, most of the Star Wars generation that grew up with the saga on video in the early ’80s were very used to the cropped editions of the film. So much so that when the films were re-issued theatrically in 1997, many presumed new elements were added to the film that were in fact always there. For example, in The Empire Strikes Back, as Imperial captains report to Lord Vader from the Hoth asteroid field, a Star Destroyer is severely damaged. That holographic captain flinches and suddenly vanishes mid-transmission. Many thought that was a new addition to the Special Edition, but it had been part of the film since 1980. It had been cropped out of previous video releases.
In cropping the widescreen image to fit a full screen frame, the focus of a scene is sometimes repositioned, so that something that was on the far left of the screen, for example, is now more centered. Sometimes, the action is on both sides — like two characters having a conversation from either end of the screen. To feature both characters in a full screen format, sometimes the scene will cut from character to character, introducing cuts that never existed in the theatrical edition. Other times, the image artificially pans from one side to another, even though the original widescreen shot had no camera movement. This is the source of the “pan-and-scan” nickname.
As home videocassette libraries grew, film buffs grew dissatisfied with the limitations of videotape and its default full screen format. Even on high-end systems, the muddiness of the picture quality and constant wear and tear on the tape would interfere with the presentation. Laser discs became the film aficionado’s first choice, and widescreen Star Wars movies found a natural home in that short-lived format. It wasn’t until 1991 that Star Wars came to VHS in widescreen.
When the DVD format first appeared, it was eagerly adopted by movie buffs, but it took a while for the casual home video viewer to switch from VHS to DVD. Now, the DVD audience is growing, and it’s no longer just for big-screen home theaters. For these new consumers, the familiar full screen option is there, though widescreen VHS has pretty much vanished as a choice. Consumers that are concerned about preserving the widescreen aspect ratio have already switched to DVD as their preferred format.
Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-09-08 02:03:28.
Freedon Nadd is often remembered as one of the most influential Sith Lords in galactic history, but his rise to power is far more unusual than most Sith apprentices. Unlike the traditional master apprentice dynamic defined by secrecy and withheld knowledge, Naga Sadow appears to have passed on his teachings with almost no restraint, granting Nadd direct access to advanced Sith alchemy, sorcery, and techniques that would allow him to transcend death itself. In this video, we explore how this unprecedented transfer of power reshaped Freedon Nadd’s destiny, why his ascent was so rapid, and how his legacy would echo through the Great Sith War, Exar Kun, and the future of Sith philosophy.
There are many things in the Star Wars that just don’t make sense and are never explained during the Star Wars Movies. Here are 8 things that don’t make sense.
(Yes some are explained in other media and books but never explained in the movies.)
WhatCulture Star Wars is dedicated to all things Star Wars. We’ll have all the usual lists, features, and news, plus there’ll be Ups & Downs for all the latest shows and new Star Wars movies. The force is with us!
We’re diving deep into the newly released, official Mandalorian and Grogu trailer with a complete breakdown and in-depth analysis. From major reveals to blink-and-you’ll-miss-it details, we’re examining every frame the way only RFR can. And after we wrapped up our breakdown, we turned it over to you — the phone lines were on fire with your reactions, observations, and theories. Plus, Jake’s Take! Experience the trailer shot-by-shot with the RFR community!
During the Old Republic Mandalorian Wars the Jedi Order’s official stance was to stay out of the conflict… what if the same thing happened during the Clone Wars?
Get ready to embark on a journey to a galaxy far, far away with the classic adventure that started it all.
Meet Luke Skywalker, a young man who spent his days working on his uncle’s farm on the remote planet of Tatooine.
However, Luke was far from content with his mundane life and yearned for excitement beyond the stars.
His wish was granted when he stumbled upon a cryptic message from a beautiful princess held captive by a dark and powerful warlord.
Although he had no idea who she was, Luke knew he had to save her, and quickly, as time was running out. With nothing but his courage and his father’s lightsaber, Luke finds himself in the midst of a savage space war and on a collision course with the enemy battle station known as the Death Star. Will he be able to save the princess and defeat the warlord, or will he meet his fate in the depths of space? You’ll have to read on to find out.
Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-04-22 16:04:08.
Ambria stands as one of the most haunting and misunderstood worlds in Star Wars Legends, a planet scarred by ancient Sith corruption and forever tied to the legacy of dark side experimentation. Once overwhelmed by malevolent Force energies, Ambria became the stage for Jedi Master Thon’s extraordinary intervention, where he battled Sith spirits and imprisoned their influence within the infamous Lake Natth, transforming the world into a chilling nexus of light versus darkness. This video explores the terrifying history of Ambria, its connection to Sith alchemy, Force imbalance, and the profound implications of a Jedi willingly containing evil rather than destroying it, revealing why this forgotten world remains one of the most philosophically rich locations in Star Wars lore
In this video, I talk about all of the new features revealed in the upcoming Star Wars Galactic Racer game which releases THIS year in 2026! The developers recently confirmed that, yes, you will be able to actually walk around in the game and I’ve got all of the details on the new paddock area, ramjet boost system and answer the question will there be a season pass?
Welcome to Star Wars HQ! Here, we talk about all things Star Wars including Star Wars Galactic Racer, Star Wars Fate of the Old Republic, Star Wars Eclipse, Star Wars Battlefront 2, Star Wars Battlefront 3, Star Wars Zero Company and so much more including the movies and TV series!
Join the Marks on episode 251 of Fantha Tracks Radios Making Tracks as they hop on their brand new Razor Crest and go off in search of blue cookies. This week they turn the page on the latest rumour that sees a possible Marvel vs Star Wars comic series come to life, get revved up for the new Galactic Racer trailer, discuss the possibility of Jon Favreau moving on from the GFFA after The Mandalorian and Grogu, look at the newly opened Skywalker Ranch store at the Presidio, and check out some of the Mando and Grogu related reveals from New York Toy Fair. That and guests Hugh Spight and Marti Matulis from Surrey Star Wars Weekend on episode 251 of Making Tracks.
We break down frame by frame the new Star Wars The Mandalorian and Grogu trailer. We discuss all the things you may have missed. What are your theories and what do you expect to see in the movie?
WhatCulture Star Wars is dedicated to all things Star Wars. We’ll have all the usual lists, features, and news, plus there’ll be Ups & Downs for all the latest shows and new Star Wars movies. The force is with us!
The new trailer for The Mandalorian and Grogu is here! Let’s break down all the fun easter eggs from Embo and Rotta to…Martin Scorsese? And let’s talk about what this trailer tells us about the story!
An all-new poster is now available to download and share. Lucasfilm’s “Star Wars: The Mandalorian and Grogu” opens exclusively in cinemas May 22, 2026.
The evil Empire has fallen, and Imperial warlords remain scattered throughout the galaxy. As the fledgling New Republic works to protect everything the Rebellion fought for, they have enlisted the help of legendary Mandalorian bounty hunter Din Djarin (Pedro Pascal) and his young apprentice Grogu. Directed by Jon Favreau, “Star Wars: The Mandalorian and Grogu” also stars Sigourney Weaver and Jeremy Allen White and is produced by Jon Favreau, Kathleen Kennedy, Dave Filoni, and Ian Bryce, with music composed by Ludwig Göransson.
We caught up with Kit Fisto actor Zac Jensen in L.A. Whilst working at Fox Studios in Sydney, Zac got his big break when George Lucas spotted the then carpenters ‘look’. The rest became Star Wars history, as he tells DJ here.
Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2024-06-24 12:18:30.
This scene from the Revenge of the Sith novelization represents one of the most psychologically devastating moments in Star Wars history, revealing how Palpatine did not overpower Anakin Skywalker through strength, but through persuasion, validation, and a carefully constructed argument that dismantled Anakin’s worldview from the inside. By examining the dialogue, the deeper meaning behind Palpatine’s words, and the emotional and mental state Anakin was trapped in, this analysis explores how a single conversation reshaped galactic history, reframing Anakin’s fall not as simple corruption, but as the tragic result of manipulation, exhaustion, fear, and a predator who understood exactly when and how to strike.
The Circle is Now Complete: Classic Marvel Talents
Walter Simonson
Back in the late seventies and early eighties, when the classic Star Wars trilogy was still young and the label “expanded universe” did not even exist, the base of material that extended beyond the films was relatively small. There were the novelizations, six 100+ page books focusing on the pasts of Han Solo and Lando Calrissian, and a handful of children’s books, but the meat of what came to be known as the expanded universe belonged to the visual realm of comics.
In those early years, Star Wars comics could be found in two different forms: the newspaper, predominantly shaped by the hands of Russ Manning, Archie Goodwin and Al Williamson, and those published in the traditional comic book format by Marvel Comics. In the mid-1990s, Dark Horse Comics reprinted the newspaper strips. This month, Dark Horse continues its trip back in time with Classic Star Wars: A Long Time Ago. The first installment reprints the initial 20 issues of Marvel’s regular Star Wars run, and is the first of seven volumes bursting at the seams with 336 pages of stories, the majority of which haven’t been seen for 25 years.
Two of the artists who contributed considerably to Marvel’s Star Wars series were Walter Simonson, who worked on the series after the release of The Empire Strikes Back, and Cynthia Martin, who contributed after Return of the Jedi.
Simonson is a veteran of the comic book industry, working on such projects as Thor, Fantastic Four, Orion of the New Gods, and is presently working on The Path. He has also worked on a licensed product for Dark Horse before, in the form of Robocop vs. Terminator. Simonson had already been in comics for nine years when he was asked to take the reigns of Marvel’s Star Wars monthly from artist Carmine Infantino.
“I was offered the opportunity to pencil the book by the editor and I liked the characters,” Simonson says. “I thought it would be fun to do, so I accepted.”
Simonson co-plotted most of the issues he worked on with writer David Michelinie. “[We] did run into a few unexpected problems,” Simonson says. “When I was working on the comic book, it was right after the second film had been released, so our continuity had to match the state of things at the conclusion of The Empire Strikes Back. This had some implications. For example, we couldn’t use Han Solo. But it gave us some room to work in that probably wouldn’t be available these days.”
Marvel’s series was inarguably a bold enterprise in terms of continuity. Unlike the current ongoing series, the early monthly series had the freedom to build its stories directly around the exploits of the classic trilogy’s main characters while the trilogy was still in progress. However, this understandably led to some difficulties.
“We did run into an immediate story snag,” Simonson says. “David’s first idea was extremely logical. It was to do a story about the Empire building a new Death Star and putting chicken wire over the exhaust ports — not really chicken wire but you catch my drift — and we were told we couldn’t. We weren’t told why not, but it was instantly obvious to us that that was going to be the thrust of the third film.
“In addition — and this is absolutely true — we had an idea for some sort of storyline involving small creatures and hang gliders. However, we were told we couldn’t do it, again without explanation. I have to say, that did puzzle us. We’re walking around thinking, ‘So, the third movie has some sort of hang gliding creatures versus the Death Star!?’ It was pretty funny.”
Eventually, after the release of Return of the Jedi, Marvel published a Star Wars comic with elements similar those described by Simonson — #73 “Lashbane,” though the issue was written and illustrated by the team of Jo Duffy and Ron Frenz.
Simonson also elaborates on a thematic problem after Empire. “Other restrictions became apparent as David and I went along, but they were generally more about characters than plots. We were told we couldn’t have anything romantic develop between Luke and Leia although we were not told why. We also found that we couldn’t have Darth Vader actually meet Luke face to face. That was a bit of a crimp, actually. Here we’re doing a comic in which one of the principal heroes couldn’t actually confront the principal villain, the other principal hero [Han] wasn’t available at all, and the heroine couldn’t become involved with the hero we did have access to.”
Despite the restrictions, Simonson says that the experience was a positive one. “I really enjoyed working on the characters and the situations back then, and I thought David and I did creditable work with the material. I’m very pleased that some of the stories are apparently remembered fondly by fans.”
Cynthia Martin
In contrast to her predecessor, Cynthia Martin had very little experience when she was asked to illustrate the Star Wars series after Jedi. “I had penciled exactly one book, a double-sized issue of Ms. Victory for an independent publisher. I was never paid, so strictly speaking, Star Wars was my first pro job. I leapt at it.”
Excitement was Martin’s initial reaction to the assignment, the illustrator says, though that quickly changed to dread. “I had been an enthusiastic fan since the summer A New Hope opened in theaters. Once the joyous delirium wore off, though, I realized that I had no experience drawing a monthly book. I was scared stiff.”
Martin got over her fear, however, in part due to her partner on the series, writer Jo Duffy. “I had the great fortune to work with Jo Duffy, a writer of exceptional imagination and talent. She was a tireless source of funny, clever ideas, and provided mountains of reference for the visuals she wanted to pursue.”
Like Simonson, Martin says there were things she was not allowed to do. “At one point, we had finished a cover that portrayed a victorious Ewok wearing a stormtrooper helmet, and it was pulled with the directive to redraw it immediately — it made the Ewok look too ferocious, or something.”
Martin, along with Duffy, was responsible for creating the Nagai, a race of slender and pale post-Jedi intergalactic invaders, anticipating the Yuuzhan Vong from Del Rey’s New Jedi Order series. Described in the expanded universe as looking like “emaciated specters” and flaunting eighties-style punk hair, Martin explains how she came up with their visual design.
“Jo Duffy suggested that I look at anime for inspiration for the Nagai,” Martin says. “This was back when anime was scarcely known in the mainstream; Jo was really ahead of her time. She showed me a Japanese comic about a tragic vampire that had a strong influence on my concept drawings.
“Jo’s main baddie, Den, was a rather conflicted dude, despite his propensity for cruelty, and I made him as thin as I could to imply that he had certain vulnerabilities. I retain a great affection for that look…and that hair.”
Along with Duffy, Martin worked on the very last issue of the series, #107 “All Together Now,” which they did not realize was going to be the last issue until the last minute. “To my recollection, that last three-fourths of an issue never saw print. Jo and I got our kill fee and it went into the bin, and I believe we scrambled to get another issue together that would tie up a few plot threads. I felt pretty bad about the cancellation, as I had just hit a kind of stride with the [series] and was starting to feel like I could produce some exceptional work. But that’s the way it goes.”
Martin states that she would love to work on Star Wars again. She especially feels an affinity for the work of young adult novelist, Jude Watson. “I would give a lot to work on a comic based on Jude Watson’s Jedi Apprentice books. I think it’s a natural. Or a limited ‘prequel baddies’ series, starring [Watson’s] Xanatos, of course.
“I’m still an enthusiastic fan of Star Wars in all its forms: the movies, the EU books, the comics,” Martin says. “It’s been a source of enjoyment for many years, and I’m always astonished at what a fertile source of inspiration it is for so many gifted people. I really enjoyed being a part of that.”
Randy Stradley & Jan Duursema
There are a select few creators that worked on the Marvel Star Wars series that have been chosen to return to the galaxy far, far away under the Dark Horse banner. One, Al Williamson, was already a veteran when he did work on Marvel Star Wars, helming the artists’ side of the adaptations for both The Empire Strikes Back and Return of the Jedi. But for the most part, Williamson only did Star Wars covers for Dark Horse, though he inked the adaptation of the A New Hope Special Edition. With Episode II, the reigns have been passed down from one Marvelite to another. Jan Duursema and Randy Stradley may have started out at Marvel as Padawans, but now they’re taking over Star Wars movie adaptation and editing chores, respectively.
“Issue #86 [‘The Alderaan Factor’] of the Marvel Star Wars comic was my very first comics job, right out of the gate,” says Stradley, who recently became Dark Horse’s new Star Wars editor. “I had been working with both Chris Warner and Mike Badger on comics stories for APA-5 (an Amateur Press Association publication) that we shelved when we both started getting professional work, so I had some experience in writing comics scripts. However, the Marvel job required me to write ‘plot-style,’ which was a new experience.” (For trivia hounds, Stradley was able to sneak an APA reference somewhere into “The Alderaan Factor.”)
Duursema, who illustrated the comics adaptation of Attack of the Clones this year, was also relatively green in the business when she worked on issue #92 “The Dream,” having done work on Arion Lord of Atlantis and Warlord. “I had only been in the [comics] industry for a few years before working on Star Wars at Marvel. Being such a big fan, I could not have passed up the opportunity to work on Star Wars when it was offered! I was working on another project at the time, but worked overtime to be able to draw the Star Wars issue as well. I figured I would never get another chance.”
That chance, and the motivation, came back to Duursema in 1999. “I returned to Star Wars because of The Phantom Menace. When I went into the theater to see that film, I was not sure if I wanted to draw comics anymore. After seeing the story of Obi-Wan, Qui-Gon and the Jedi of the Episode I era, after seeing the final battle with Darth Maul — I knew I had to draw Star Wars comics again.”
Duursema says that she was hesitant to ask for more Star Wars work during the Marvel days because she was so new to the industry, but Stradley reveals that he tried submitting a number of other stories… without much success. “Then-editor Ann Nocenti asked me to write more Star Wars stories, but she wanted all of the stories to include Hoojibs — those little, telepathic bunny-rabbit aliens,” Stradley says. “I tried coming up with stories to include hoojibs, but since about all they could do was ride around on Luke’s shoulder, I could never satisfy myself that they needed to be in the stories. Consequently, I’m sure most of my submissions that included them sucked.”
“Alderaan Factor,” however, has always been a favorite among fans. The hard-hitting story deals with a stormtrooper who struggles to reconcile his Alderaanian background with his service to the Empire.
“I wanted to give the stormtroopers a face,” Stradley says. “It seemed so strange that we never saw any of them without their helmets in the films. It’s easy to hate and kill a faceless enemy. It’s harder when you see how human they are.”
Besides these stories, Stradley says that he also submitted a Han and Chewie story that was rejected because it was deemed “too dramatic,” as well as a story involving the remnant of the Emperor’s Royal Guard. “I was told that Luacsfilm had, at that time, put [the Royal Guards] off-limits. Luckily, twelve or so years later, I got to use them in Crimson Empire.”
Crimson Empire is only one of several Star Wars comics that Stradley has penned for Dark Horse, including its sequel Crimson Empire II: Council of Blood and the Jedi Council mini-series, Acts of War.
Stradley said that while the Star Wars films concentrate on epic themes, he likes to scale the action down a bit. “I always like the smaller, more personal stories best. Because the movies contain so much big action and so many galactic threats, a lot of writers want to replicate that in the comics and fiction. Unfortunately, because the stories are almost all considered ‘canon,’ it means that the Star Wars galaxy is subjected to a constant stream of dire threats. To me, it strains credibility.
“I’d much rather see a smaller story, the events of which are important to just one or two characters. I say, leave the big stuff to the films. I guess my favorite would have to be the good parts of ‘The Alderaan Factor,’ and the Kir Kanos solo story, [Bounty Hunters #3] ‘How the Mighty are Fallen.'”
While Stradley’s Star Wars work has tended to favor masked characters — stormtroopers, Royal Guards, and bounty hunters — Duursema seems to have a thing for Sith Lords, illustrating Darth Maul for that title series and both Anakin and Count Dooku for the Clones adaptation. But Duursema’s first dark side villain was the character Flint for “The Dream.”
“Flint’s character was sort of an analogy for Luke… sort of a, ‘What if Luke had gone to the dark side?’ kind of story,” Duursema says. “Flint was a cool character to design. [Writer] Jo Duffy and I both liked the samurai influences on Vader’s costume, and wanted to hint at that, but we both really wanted to pull in something stylistically unique to Flint. So I researched Far Eastern armor, as well as medieval armor, and tried to come up with a blend for Flint’s costume. Lucasfilm was really open to interpretation of design for this character.”
Currently, Stradley is working on a story for Star Wars Tales. Don’t look for his name in the credits, though — the story will be written under a pseudonym. As for Duursema, she is currently working on a story arc titled “Rite of Passage” for Dark Horse’s monthly Star Wars series, which highlights Aayla Secura — an expanded universe character that makes an appearance in the film version of Clones.
Bob Layton
Bob Layton is a giant in the comic book industry. Besides working on a number of comics titles, including Iron Man with his friend and fellow Star Wars scribe David Michelinie, Layton is the founder of two comic books companies, Valiant Comics and the Future Comics, the latter along with Michelinie.
While Layton only worked on one Star Wars comic for Marvel, it was a biggie. Layton co-scripted and illustrated #78 “Hoth Stuff!” the first time the expanded universe every shined the spotlight on the beloved working man of the classic trilogy, Wedge Antilles.
Layton says that several factors contributed to his decision to create a story around Wedge. “Mr. Lucas felt that Wedge was important enough to include him in every feature film. So [I thought], why not? I got the impression that Wedge represented the ‘everyman’ in the Star Wars epic. Also, we didn’t have to worry about continuity or stepping on anyone’s toes at Lucasfilm with a Wedge story. It just made sense at the time.”
In “Hoth Stuff!” Wedge, is stranded on the frozen planet with his gunner Janson after the events of The Empire Strikes Back, and the soldiers have to survive the elements, the native fauna, and scrupulous scavengers until help can arrive.
“[Wedge] seems to be a survivor of horrendous events, the guy that was there to see the ‘Big Battle,’ but not of consequence to the major players in the struggle,” Layton says. “Since he was always near the action, it seemed appropriate to focus on him in our story.”
Layton says that he and Michelinie did pitch some ideas for new Star Wars comics, but nothing ever came of them. “They were very good springboards that dealt with aspects of the Jedi that haven’t been explored to this day.”
guest-written by Abel G. Peña
Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-09-10 02:44:33.
Maul: Shadow Lord is around the corner. I recently read back through every story in canon and Legends that focuses on the character. So here is my recommended watching and reading list for Maul before his new series premieres!
Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-01-31 10:27:58.
Join Brian Cameron and Paul Naylor on Good Morning Tatooine for an in-depth discussion of all the latest Star Wars and Lucasfilm news.
This week we’ll watch the ‘Mandalorian & Grogu’ Super Bowl advert and a Taylor Swift music video. We’ll also check out Sideshow’s Han Solo figure from Hot Toys and The Art of Star Wars: The Acolyte.
We’ll discuss the potential crossover of Star Wars comics with Marvel and its implications. We’ll also watch the Galactic Racer official gameplay trailer and take a look at the Miniso Star Wars blind bags.
Skywalker Ranch has opened a General Store and we’ll peek inside to see what’s on sale. Hasbro has revealed two new figures in The Retro Collection and we’ll check them out along with all the big reveals from NYCC.
In this video, we explore one of the most fascinating and overlooked dynamics in Star Wars: Palpatine’s lifelong underestimation of Obi-Wan Kenobi. While the Sith Lord fixated on prodigies, raw power, and the Chosen One, Obi-Wan quietly endured, shaping the future in ways the Emperor never fully anticipated. From Naboo to Mustafar, from exile to Luke Skywalker’s training, we break down how Palpatine’s dismissive view of Kenobi became a critical flaw in the Sith Grand Design. By examining key moments, including Palpatine’s own words in the Emperor’s throne room, this analysis reveals how Obi-Wan’s persistence, discipline, and alignment with the Force made him a subtle but devastating counterweight to Darth Sidious. This is not just a character study, but a deeper look at how the Sith and Jedi measure power, and why Obi-Wan Kenobi may have been a greater long term threat than Palpatine ever realized
The Book of Boba Fett: An Exciting New Chapter in the Star Wars Universe
Introduction:
The Star Wars universe has captured the hearts of fans around the world for decades, and one of the most beloved characters from the franchise is none other than Boba Fett. Known for his mysterious and enigmatic nature, Boba Fett has finally been given his own spotlight in the highly anticipated Disney+ series, “The Book of Boba Fett.” In this blog post, we will delve into the excitement surrounding the upcoming series and explore what fans can expect from this new chapter in the Star Wars saga.
A Story of Redemption:
Boba Fett made his first appearance in “Star Wars: Episode V – The Empire Strikes Back” and quickly became a fan-favorite character despite having limited screen time. The Book of Boba Fett provides the perfect opportunity to delve deeper into his backstory and explore the journey of redemption that he embarks upon. After surviving the events of “Return of the Jedi,” Boba Fett’s story takes an intriguing turn as he seeks to establish his own criminal empire on the desert planet of Tatooine. This exploration of Boba Fett’s past and his quest for redemption adds a layer of complexity to his character, allowing fans to further connect with him on an emotional level.
A Glimpse into the Underworld:
One of the most exciting aspects of “The Book of Boba Fett” is the exploration of the criminal underworld in the Star Wars universe. As Boba Fett navigates the treacherous world of crime, viewers will be treated to a gritty and dark portrayal of Tatooine’s underworld. This series promises to delve into the politics, power struggles, and shady dealings that shape the galaxy far, far away. By shining a spotlight on the criminal underbelly of the Star Wars universe, “The Book of Boba Fett” expands the scope of the franchise, offering a fresh and intriguing perspective on the galaxy’s seedy underbelly.
A Return of Familiar Faces:
“The Book of Boba Fett” not only offers a fascinating glimpse into Boba Fett’s life but also reintroduces familiar characters from the Star Wars universe. Ming-Na Wen reprises her role as Fennec Shand, the skilled assassin who made her debut in “The Mandalorian.” The series also provides an opportunity for the return of characters like Jabba the Hutt, who will undoubtedly add an extra layer of intrigue to the narrative. This reunion of familiar faces not only adds nostalgia for long-time fans but also creates a sense of continuity within the Star Wars universe, bridging the gap between different storylines and characters.
Expanding the Star Wars Mythology:
While Boba Fett has always been a compelling character, his story has been shrouded in mystery. “The Book of Boba Fett” aims to expand the Star Wars mythology by shedding light on his origins, motivations, and personal growth. This series promises to add depth to Boba Fett’s character, making him even more complex and multi-dimensional. By exploring his past and delving into his psyche, “The Book of Boba Fett” enriches the overall Star Wars narrative, providing fans with a deeper understanding of the galaxy’s history and the forces that shape it.
High Production Values and Stellar Cast:
“The Book of Boba Fett” is helmed by executive producer Jon Favreau and executive producer/director Robert Rodriguez, both of whom have proven their prowess in the realm of sci-fi storytelling. With their combined vision and expertise, viewers can expect high production values, stunning visuals, and thrilling action sequences. The series boasts an impressive ensemble cast, including Temuera Morrison as Boba Fett and Ming-Na Wen as Fennec Shand, ensuring top-notch performances. This commitment to quality in both storytelling and production elevates “The Book of Boba Fett” to a new level, promising an immersive and captivating viewing experience for fans.
Conclusion:
“The Book of Boba Fett” is an exciting addition to the Star Wars universe that promises to captivate fans with its intriguing storyline, rich character development, and immersive world-building. As we eagerly await the release of this highly anticipated series, the possibilities for Boba Fett’s future are endless. Whether you’re a die-hard Star Wars fan or simply enjoy captivating storytelling, “The Book of Boba Fett” is certain to be a thrilling adventure that will leave audiences wanting more. May the Force be with you!
Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-05-21 20:30:59.
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Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2024-05-31 09:30:44.
