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The Clone Wars Episode Guide: Cloak of Darkness

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

The Clone Wars Episode Guide: Cloak of Darkness

Episode Air No.:9
Original Air Date: 
December 5, 2008

Production No.: 10

Written by Paul Dini
Directed by Dave Filoni

Key Characters: Ahsoka Tano, Luminara Unduli, Viceroy Nute Gunray, Count Dooku, Asajj Ventress, Clone Commander Gree, Senate Guard Captain Argyus

Cast:

Matt Lanter as Anakin Skywalker
Ashley Eckstein as Ahsoka Tano
Olivia d’Abo as Luminara Unduli
Tom Kenny as Nute Gunray
Nika Futterman as Asajj Ventress
James Marsters as Captain Argyus
Dee Bradley Baker as clone troopers
Corey Burton as Count Dooku/Senate Guard
Ian Abercrombie as Darth Sidious
Tom Kane as Yoda/Narrator

Episode Brief: Ahsoka and Jedi Master Luminara escort captured Viceroy Nute Gunray to trial, unaware that Count Dooku has dispatched his deadly apprentice assassin Asajj Ventress to free the prisoner and eliminate the Jedi.

Notable: All female warrior fight between Ventress, Luminara and Ahsoka; written by comics | animation superstar Paul Dini; directed by series supervising director Dave Filoni.


Full Synopsis

“Ignore your instincts at your peril.”

Newsreel: Viceroy Gunray captured!
Senator Padmé Amidala has scored a
victory against the Separatist Alliance
on the remote world of Rodia, securing
the arrest of the diabolical Confederate
leader, Nute Gunray. The Jedi Council
has dispatched Master Luminara
Unduli and Anakin Skywalker’s Padawan
Ahsoka to escort the Viceroy to Coruscant
under heavy guard. Once there, he will
face trial for his many war crimes….

ACT I

A Republic frigate carrying Luminara Unduli and Ahsoka Tano lifts off from Rodia, soaring toward the Venator-class Star Destroyer Tranquility. Senate Commando leader Captain Argyus clears the frigate for landing within the cruiser’s ventral hold. Aboard the Tranquility, the Jedi march a shackled Nute Gunray down its cold corridors, escorted by Clone Commander Gree. Gunray wails about this “miscarriage of justice,” and demands his litigator, but there’s no sympathy to be found as the viceroy is handed over to Argyus and his commandos. Ahsoka is confused as to why Gunray rates such elevated levels of security, but Luminara advises her not to underestimate the viceroy.

Elsewhere in space, within a Separatist fleet, Count Dooku bends on one knee to receive the holographic presence of Darth Sidious. Dooku’s dark master worries about Gunray’s capture, for the spineless Neimoidian is not likely to last long under Jedi interrogation, and could spill all sorts of valuable secrets. Dooku assures Sidious that he has already dispatched his most trusted assassin, Asajj Ventress, to infiltrate the Tranquility and either free Gunray, or permanently silence him. Sidious is skeptical about Ventress’s abilities, but allows Dooku to proceed. After Sidious’ form vanishes, Dooku turns to Ventress and stresses the importance of her mission.

The Tranquility breaks orbit from Rodia as Gunray is secured in his ray-shielded cell. Luminara is coolly questioning him. The Jedi Master senses Gunray’s fear that he may lose the power and wealth given to him by the war. Desperately, Gunray claims innocence. This infuriates Ahsoka, who erupts in a show of anger; she ignites her lightsaber, and holds it to Gunray’s neck. He scurries into a corner, terrified. Luminara scolds Ahsoka for brandishing terror as a weapon. Ahsoka sheepishly explains she wasn’t serious, but thinks that the coward Gunray will only talk if scared enough. Gunray composes himself, ready to negotiate.

Just then, a tremor shakes the ship. Gree gets a status report from the bridge: the Tranquility is under attack. Vulture droids buzz the bridge, and a trio of thorn-shaped boarding ships darts toward the cruiser. Gree orders Green Company to prepare to repel invaders. The spiraling boarding ships spear into Tranquility‘s ventral spine, their blade-like nosecones sticking through the hangar bay ceilings beyond. These nosecones blossom open, disgorging super battle droids into the hold.

A firefight erupts as Green Company arrives to blast away at the infiltrators. They are overwhelmed by the super battle droids, who push their way deeper into the ship toward the detention levels. Luminara and Gree depart to assist the hangar troops, but Master Unduli orders Ahsoka to remain with the prisoner and Captain Argyus.

After the fighting in the hangar bay has subsided, Asajj Ventress emerges from one of the boarding vessels. A wounded clone survivor takes a shot at her, but she easily deflects it and beheads him before he can get out his call of warning. Asajj picks up the fallen clone’s gauntlet comlink and then cuts her way into the Tranquility‘s ventilation systems.

ACT II

The inexorable super battle droids march through the interior corridors of the Tranquility, as clones hunker down to repel them, sealing dilating blast doors to slow their progress. Master Luminara and Gree arrive at a cross corridor, and ambush the droids. She and Gree cut through them, eliminating the infiltrators, but Luminara does not feel their troubles are over.

Elsewhere, Ventress emerges in the engine room of the massive vessel. A simpleminded Treadwell, 327-T, is inspecting the ship’s inner works, shining its luminous photoreceptors into various nooks and crannies, but it fails to spot the stealthy assassin. A clone captain and a fellow trooper enter the reactor room to check for any signs of infiltrators, but their cursory glance reveals nothing. The clones ask the Treadwell to keep an eye on the place before moving on in their patrol. Asajj slinks around, careful to stay in 327-T’s blind spot. She affixes explosives on several key spots around the reactors, and then makes her way back to the grate unnoticed.

In the detention center, Ahsoka teases Gunray since its evident the attempt to rescue the viceroy has failed. Suddenly, she spots Ventress’ twin lightsaber blades carve an entrance into the detention center’s control room. Ventress drops into the room from a hole in the ceiling and quickly subdues the two commandos on duty. Ahsoka ignites her lightsaber blade, and squares off against Ventress. She orders the commandos to open fire. The remaining three commandos on duty — Captain Argyus included — try to blast Ventress, but she deflects their bolts back at them, dropping two of them, and leaving Argyus standing. She tosses Argyus aside with the Force, and continues pressing on Ahsoka.

Asajj slips past Ahsoka and runs to Gunray’s cell. She deactivates the shields, pulling Gunray out and kicking Ahsoka in! Gunray relishes this reversal as he reactivates the shield, locking Ahsoka inside.

Just then, Luminara and Gree arrive in the cellblock, and the Jedi Master charges down the corridor, her lightsaber ignited. Using the Force, she opens Ahsoka’s cell, and the Padawan emerges, lighting her blade and flanking Ventress who now has to deal with two combatants. Ventress seemingly surrenders, lowering her weapons, raising her arms… but she grins as her timed explosives in the engine room detonate.

The whole ship is rocked by the blast. Ventress takes advantage of the distraction and bowls over Luminara. She runs to the open turbolift tube and dives in, spearing her lightsabers into shaft wall to slow her descent, leaving a pair of molten metal trails in her wake. Ahsoka tries to impulsively follow her down the open shaft, but Luminara stops her just in time to avoid being smashed by a descending turbolift car.

Argyus examines the status boards, and reports the grim news. Security doors, turbolifts, communications and propulsion systems are all haywire. But all is not lost. The commandos are still in possession of Gunray. Luminara orders the guards to be extra vigilant while she sets off to stop Ventress. Ahsoka implores Luminara to let her help, but Master Unduli orders her to stay in the detention block.

Unduli arrives in the smoldering engine room, where she is promptly pounced upon by Ventress. Asajj cuts through a nearby vent, blasting a jet a steam into Unduli’s face, momentarily blinding her.

Ahsoka is not happy to be left behind, especially since she has firsthand experience dealing with Ventress. She voices her frustrations to the guards. Argyus seems to sympathize with her, and states that sometimes being a good soldier is doing what you believe is right. Gree, however, voices the opposite view: that following orders matters above all else. Gunray, unhelpfully, offers that he would never do anything that would risk his own neck. At Argyus’ nudging that Gunray is in safe hands, Ahsoka leaves her station to help Master Luminara.

The duel between Jedi Master and dark assassin intensifies, moving from the relatively safe upper platforms into the thick of the reactor chamber fires. Ventress cuts through some heavy machinery, sending it crashing down at Luminara. Luminara uses the Force to keep the debris from crushing her, but is nonetheless pinned by a heavy pipe. Ventress closes in for the kill.

ACT III

Ahsoka rushes in, Force-pushing Asajj in the middle of the assassin’s leap. Ventress goes hurling into the debris as the Padawan runs to Luminara’s side. Ahsoka cuts Luminara free, and braces for her rebuke, but there’s no time. Ventress emerges from the wreckage and attacks anew. She leaps into the upper levels, but the Jedi give pursuit. Hidden in the shadows, she activates a signal on her wrist gauntlet.

At that exact moment in the detention center, Captain Argyus receives a signal on his gauntlet. He suddenly spins around and coldly blasts his fellow commandos. He turns to blast Gree, but the clone trooper takes cover. Argyus opens Gunray’s cell, and holds the viceroy hostage in front of him, knowing that Gree will not kill the valuable Separatist prisoner. Argyus is a traitor: he’s being paid a fortune by Count Dooku to deliver Gunray.

In the engine room, the Jedi find someone stirring in the debris, but it’s only 327-T. As they work their way deeper into the ruined chamber, Luminara concedes that she did underestimate Ventress, and that she does need and appreciate Ahsoka’s help. Just then Gree communicates to Luminara, informing her of Argyus’ betrayal. The Jedi start to rush back to the detention level. Ventress resumes her attack.

The standoff between Argyus and Gree continues, with a whining Gunray in between. Argyus feels confident behind his Neimoidian shield, but Gree targets his blaster and shoots the weapon from Argyus’ hand. The commando captain shoves Gunray at Gree, distracting him, and then kicks the clone’s blaster from his hands. It’s down to fisticuffs. The two soldiers circle each other. As a clone fervently loyal to the Republic, Gree cannot understand Argyus’s betrayal. Likewise, Argyus cannot understand Gree’s commitment to “empty servitude.” Argyus lunges for Gree’s fallen blaster, but Gree steps on the weapon and delivers a stunning blow to the side of the commando’s head. But all the while, the two warriors have taken their eye off Gunray. The viceroy slams Argyus’ discarded blaster rifle butt onto Gree’s unhelmeted head, knocking him unconscious.

With Viceroy Gunray free, Argyus signals Ventress in the engine room. Her mission accomplished, Ventress activates several leftover explosives to cover her escape, leaving Ahsoka perilously dangling over a battered catwalk to be saved by Luminara.

Argyus and Gunray escape to the Republic frigate in the Tranquility‘s hold. With the Star Destroyer in such turmoil, its outer shields are down, allowing the smaller vessel to ease out of its docking bay. Ventress, meanwhile, cuts her way to an escape pod bay and launches from the crippled ship. Luminara and Ahsoka are a few steps behind and witness the pod launch towards the frigate.

Captain Argyus gloats about his success as Asajj comes aboard. He cockily mentions that he’ll ensure Ventress’ contributions to their rescue efforts will be noted in his report to Count Dooku. Ventress suddenly drives her lightsaber into Argyus’ back, killing him.

Aboard the Tranquility, communication systems have been restored. In the bridge’s war room, Ahsoka and Luminara confer holographically with Yoda and Anakin Skywalker. Yoda is troubled by the treachery of Captain Argyus; the Jedi are coming to realize that they are surrounded by enemies. On a more positive note, Luminara reminds her fellow Jedi that Gunray fled in a Republic ship, which can be tracked. Master Kit Fisto’s fleet was near the viceroy’s last known position. Fisto is tracking the signal, determined to recapture the Separatist leader.


Trivia & Details

  • This episode marks the first series appearance of Senate Commandos, a new type of soldier derived from the blue-robed Senate Guards seen in Episodes I-III. The model of the soldier uses the same basic body of a clone trooper, with a custom blue paint job, different head, and a large scarab-like shoulder pad with the Senate seal for the captain.
  • The Treadwell droid’s name is another conspicuous appearance of the digits “327.” In Episode IV, the Millennium Falcon is docked in hangar bay 327 aboard the Death Star, while in Episode V, it lands on platform 327 in Cloud City. In Episode I, the Naboo starship is identified as a Nubian J-type 327. (See the Episode Guide for “Rookies” for another 327 occurrence as well as the leading theory of its origin).
  • The catwalks and clusters of cylinders that dominate the engine room are an architectural nod to the gravity control room found aboard the Super Dimensional Fortress (SDF-1) from the Macross anime, (or Robotech series, if you’re so inclined).
  • This episode marks the third use of a particular ship model in a new role — the podhunters from “Rising Malevolence,” and the dropships from “Rookies” are now seen as boarding craft. Internally, this ship design is nicknamed the “juicer,” named after the basic kichen appliance that inspired its design.

Memorable Quotes

“I am a man of great wealth, and I can be very generous to my allies.” — Nute Gunray

“That is a very tempting offer, Viceroy. In the meantime, I have a gift for you.” — Clone Commander Gree shackling Gunray.

“I know nothing!” — Nute Gunray, under interrogation

“Tell us what we what we want to know right now, or I will gut you like a Rokarian dirt-fish!” — Ahsoka Tano, interrogating Gunray.

– “If it isn’t the hairless harpy.”
– “If it isn’t Skywalker’s filthy, obnoxious little pet. Stand down, little girl, and I’ll give you a cookie.”
– “How nice of you. Tell you what. I’ll give you a merciful death.” — Ahsoka Tano versus Asajj Ventress.

“Open this door and I’ll buy you a planet!” — Nute Gunray

“Don’t shoot! I’m an innocent pawn!” — Nute Gunray (He really shines this episode).


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 2023-04-17 08:00:19.

Kathleen Kennedy To Become Co-chair Of Lucasfilm Ltd.

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Kathleen Kennedy To Become Co-chair Of Lucasfilm Ltd.

Lucasfilm Ltd. today announced that Kathleen Kennedy will become Co-Chair of Lucasfilm. In an effort to move forward with his retirement plans, George Lucas will work with Kathleen Kennedy to transition into her new role. Lucas will become Co-Chairman of the Board of Lucasfilm and continue as CEO. Micheline Chau will remain as President and COO of Lucasfilm, and continue to focus on the day-to-day operations of the business.

“I’ve spent my life building Lucasfilm and as I shift my focus into other directions I wanted to make sure it was in the hands of someone equipped to carry my vision into the future,” said George Lucas. “It was important that my successor not only be someone with great creative passion and proven leadership abilities, but also someone who loves movies. I care deeply about my employees-it is their creativity and hard work that has made this company what it is today. As the company grows and expands I wanted to be sure the employees of Lucasfilm have a strong captain for the ship. I also care deeply about our fans and it was important to have someone who would carry on the passion and care that I’ve given the films over the years. So for me Kathy was the obvious choice, she is a trusted friend and one of the most respected producers and executives in the industry.”

Director Steven Spielberg said, “George’s prescience is once again proven by his choice of my long time producing partner, Kathy Kennedy to co-chair Lucasfilm. Kathy has been a member of both of our families going into a fourth decade so it does not feel like she is going to another galaxy far far away. She will get just as much support from me with Lucasfilm as George has given both of us all these years.”

“George is a true visionary,” said Kathleen Kennedy. “I’ve seen him build Lucasfilm from a small rebel unit in Northern California to an international fully integrated entertainment company. I’m excited to have the chance to work with such an extraordinary group of talented people. George and I have talked about the enormous opportunities that lie ahead for the company, and as George moves towards retirement I am honored that he trusts me with taking care of the beloved film franchises. I feel fortunate to have George working with me for the next year or two as I take on this role-it is nice to have Yoda by your side.”

Seven-time Academy Award nominated Kathleen Kennedy is one of the most successful and esteemed producers and executives in the film industry. As a producer she has an impeccable record with a robust filmography working with such filmmakers as Steven Spielberg, Peter Jackson, Martin Scorsese, Robert Zemeckis, Barry Levinson, Clint Eastwood, David Fincher and Gary Ross. As a testament to her standing in the film community, she previously held the position of governor and officer of the Academy of Motion Pictures Arts and Sciences (AMPAS) and currently serves as a member of the board of trustees. She is also a former President of the Producers Guild of America.

Kathleen will step down from her role at The Kennedy/Marshall Company, shifting her responsibilities to partner Frank Marshall. The Kennedy/Marshall Company is currently in post production on LINCOLN, directed by long time collaborator Steven Spielberg whom Kennedy also produced for on the INDIANA JONES and JURASSIC PARK franchises, and THE BOURNE LEGACY, written and directed by Tony Gilroy and produced by Marshall. Under the Kennedy/Marshall banner, the pair has produced such Academy Award nominated Best Picture films as WAR HORSE (six nominations), THE CURIOUS CASE OF BENJAMIN BUTTON (thirteen nominations) THE SIXTH SENSE, (six nominations) and SEABISCUIT (seven nominations), as well as blockbusters including the BOURNE series and THE ADVENTURES OF TINTIN. Marshall will oversee the company’s current slate of projects and continue to expand it via their development deals with DreamWorks and CBS TV Studios.

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 2022-10-16 16:00:01.

Correct Calculations

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Correct Calculations

“If my calculations are correct, this year should be the 10th Anniversary of The Empire Strikes Back!”

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 2023-12-04 20:00:01.

Star Wars | Heir to the Jedi

Star Wars – Heir to the Jedi

Prepare to experience the Star Wars universe like never before with a thrilling new adventure that takes place between A New Hope and The Empire Strikes Back. This time, you’ll get to see everything through the eyes of none other than Luke Skywalker himself!

Luke’s heroic destruction of the Death Star has made him a legend among the Rebel Alliance, and his skills as a pilot are unmatched. That’s why Princess Leia Organa and Admiral Ackbar have chosen him for a daring rescue mission that could turn the tide of the war.

A brilliant alien cryptographer has been captured by the Empire, and the Rebels need her skills to gain an edge. But to pull off the rescue mission, Luke and R2-D2 must team up with an unlikely ally: Nakari Kelen, a bold young pilot with a score to settle against the Empire.

As they race against the clock, Luke will face ruthless Imperial bodyguards, deadly battleships, and even brain-eating parasites. He’ll need all of his training as a Rebel fighter and budding Jedi to survive. But with the Force as his guide and his friends by his side, Luke is ready for anything.

Critics are raving about Heir to the Jedi, praising its rich characters, thrilling action, and emotional depth. Whether you’re a die-hard Star Wars fan or a newcomer to the galaxy far, far away, this book is a must-read. You’ll come away with a deeper understanding of who Luke Skywalker is and a renewed admiration for his heroic journey. May the Force be with you!

Sources:

Wookieepedia
Read Star Wars
Jedi Temple Archives
Yoda’s Datapad
Youtini

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 2023-04-24 16:35:34.

The Homing Beacon Archives : 101-110

Welcome to the Homing Beacon ArchivesThe Official Newsletter of Star Wars.Com, no longer available. I have salvaged as much as I can but have only concentrated on the main part of the newsletter and not the peripheral stuff. I have used images where possible. Enjoy this blast from the past!

Thursday, December 23, 2003
Issue #101

Sing Carols with C-3PO and R2-D2

What do droids, Chewbacca, legendary disco producer Meco and rocker Jon Bon Jovi have in common? They all celebrate the holidays on Christmas in the Stars: Star Wars Christmas Album. With memorable tunes such as “What Can You Get a Wookiee for Christmas (When He Already Owns a Comb?)” and C-3PO’s retelling ofa sci-fi infused “‘Twas the Night Before Christmas,” the album is a quirky addition to any holiday music collection. In fact, the record was so sought after by collectors, that in 1996 Rhino records and Lucasfilm, Ltd. decided to re-release Christmas in the Stars for eager fans.

The album’s story takes place in a droid factory where robots trudge away at building toys year round for S. Claus. However they don’t understand the meaning of Christmas until C-3PO and R2-D2 show them how to appreciate the holiday spirit. Even Artoo adds to the season festivities by learning how to whistle the catchy Christmas ditty, “Sleigh Ride.” Later we learn who gets what from their wish list: a scarf for Luke Skywalker, perfume for Princess Leia and earmuffs for Han Solo.

Recorded in 1980, many of the album’s songs were written by Maury Yeston, a Yale University music professor and composer. Producer Meco Monardo, who already topped the charts with his best-selling disco albumsStar Wars And Other Galactic Funk and Encounters of Every Kind, envisioned and supervised the unusual project.

British actor Anthony Daniels lent his voice to reprise his role as C-3PO and Lucasfilm’s sound artist Ben Burtt provided the sound effects of R2-D2 and Chewbacca.

However, the most trivia-worthy album liner note is the debut of a then 18-year-old Jon Bon Jovi, who ends up singing with a high school choir on “R2-D2 We Wish You A Merry Christmas.” At the time the album was in production, Jon Bon Jovi , then known as John Bongiovi, swept floors and did odd jobs at the famous New York City recording studio Power Station, ran by Jon’s cousin Tony Bongiovi. As Meco auditioned singers for Christmas in the Stars, Tony suggested Jon for one of the lead vocal parts, and the rest is caroling history. Soon after Jon’s singing debut, he recorded his own demo at the Power Station which included a hit song called “Runaway.” The single eventuallylead to a deal with Mercury in 1983.

Even though Christmas in the Stars did not lead to a series of additional Star Wars holiday-themed albums as Meco initially had planned, the album still remains a favorite among movie and music collectors alike.

Thursday, January 22, 2004
Issue #102

CG That’s More Than Skin Deep
Through its use of digital doubles performing hazardous stunts or synthetic characters like Yoda the Jedi Master, Episode III will continue to blaze new ground in the development of believable computer-generated organic characters. One of the tools Industrial Light & Magic uses is subsurface scattering rendering — a technique that was in early development for Episode II, and one that has garnered recognition from the Academy of Motion Picture Arts and Sciences. On February 14, Christophe Hery will represent ILM in receiving a special certificate of merit from the Academy as part of the 76th annual Academy Awards.

The technical award Hery will accept is one of nine that the Academy will give this year and represents a major leap forward in the effort to create photo-realistic images on screen. While Hery started working on subsurface scattering during the production of Attack of the Clones, the technique wasn’t perfected in time to use on the digital characters in that film. Instead, the public saw ILM’s first use of the technique on Dobby the Elf in Harry Potter and the Chamber of Secrets, later in 2002.

“The idea is to simulate the effect of translucency and depict how light penetrates inside the skin and scatters around the different tissues, then comes out at different points,” Hery explains. “Traditionally in computer graphics, we’ve followed the idea that light shines on a particular point and bounces off the same point. Subsurface scattering allows light to go into a certain point and come out in different places. It opens the door to all different kinds of materials in computer graphics — especially skin,” he says.

For a simple example of the natural effect that subsurface scattering replicates, hold your hand up to a bright light and notice how light shines through your skin and creates reddish and yellow glows. That kind of detail, which was previously missing from CG techniques, is what subsurface scattering brings to digitally rendered characters.

Although the process was first used more than a year ago, the Academy carefully reviewed submissions for their merit before deciding which of the 14 submissions would receive an award. Thanks to ILM’s work with subsurface scattering in films like The Hulk and the use of similar techniques by other visual effects companies to create successful digital characters, the last two years of film production have demonstrated that it is becoming increasingly possible to make photorealistic humans and other creatures with translucent elements such as skin, Hery says.

“It’s possible to make these look like they belong to the world around them,” he says. “We forget that what nature is doing is very complex. All the time (in computer graphics) you’re pushing the envelope, you have to go to the next level. This is just one component — one big component — of rendering human skin.”

Thursday, February 05, 2004
Issue #103

Digital Digits: VFX By The Numbers
Industrial Light & Magic is still gearing up to take on the bulk of visual effects requirements for Episode III, but here’s a numerical snapshot of where they stand as of February 4, 2004.

Total number of shots: 2,000
Client Finals (final shots as approved by George Lucas): 37
Final Omits: 1
Shots Turned over to ILM: 809

Finals needed per week: 32
Weeks to go: 61
Shots left to go: 1,963

Length of the opening shot, from after the crawl to the first cut (in frames): 3,768

For continued coverage of the postproduction process, be sure to check out the Post Notes article that appears regularly at starwars.com Hyperspace.

Thursday, February 19, 2004
Issue #104

Late Night with Mark Hamill
“My idea of fun on a talk show is being in a world of comedy and performance rather than being a guest,” says Mark Hamill. The actor behind Luke Skywalker proudly displays his preference for performance over dry talking heads in his directorial debut, the not-quite-cinema-verité documentary, Comic Book: The Movie. Insomniac Star Wars fans could have glimpsed seeds of this straight-faced make-believe approach to comedy in the mid-1980s, on NBC’s popular “Late Night With David Letterman.”

“[Late Night writer] Chris Elliott lived in my neighborhood, and I was a big Letterman fan,” recalls Hamill. “I used to say to him that I wish Dave’s show had no guests, because I like the comedy better than hearing somebody talk about their latest movie.”

Hamill was slated to appear as a guest during the height of Return of the Jedi mania, but when viewers tuned in that night, it appeared the actor was overbooked. He instead appeared “live via satellite” from Episode VI’s Royal Premiere in London. Letterman conducted the unconventional interview over a monitor, but stopped when he noticed recognizable members of the Late Night band walking behind Hamill. Intrigued, the host stepped over to the hallway next to the set, and found a sheepish Hamill standing in the hallway talking to a camera. Caught in a fib, Hamill confessed that his presence was not requested for the Premiere, and instead “they just wanted the aliens and the robots.”

“I jumped at the chance to do that bit,” says Hamill. “Dave doesn’t do rehearsals, so when we went on the air, it was the first time he did that line. I say to him, ‘Don’t be mad, Dave.’ And he replies, ‘I’m not so much as mad … as I am disappointed.'”

Another appearance of the same vintage came about as a response to a Viewer Mail segment. An inquisitive fan wanted to know how a guest in a cooking segment managed to crack an egg with one hand. To explain the highly technical effect, Letterman handed it over to Hamill, who appeared in a pre-recorded segment delving into the magic of ILM special effects.

“I thought it was reallyfunny, because it was satirizing those ‘Making Of’ specials,” says Hamill. “What I loved about it was the unbelievably elaborate explanation of something that was so simple. ‘First the hand is shot against bluescreen. Later an egg is added optically. Squibs are added to the egg…’ I loved that.”

A string of appearances on the “Late Night” was made possible by Hamill being busy in New York theater at the time. “They’d shoot at 5:30, so they’d be done by 6:30. I’d be in the theater district, but I wouldn’t have to be in the theater until 7:30 for my show at 8. It worked out beautifully. I must have done at least a half-a-dozen of those before I overstayed my welcome,” he says with a laugh. “I realized that somewhere along the line I got replaced by Tony Randall.”

Thursday, March 04, 2004
Issue #105

Clone Wars Season 2 Voices

Issue #98 of the Homing Beacon introduced readers to many of the voice actors performing in the first installment of the Star Wars: Clone Wars micro-series. With the second season of ten episodes coming this month, here’s a look at some of the new vocal talents and characters to be featured.

Returning as main characters are Mat Lucas as Anakin Skywalker, James Arnold Taylor as Obi-Wan Kenobi, Anthony Daniels as C-3PO and Tom Kane as Yoda. Grey De Lisle is once again Padmé Amidala and Asajj Ventress. She will add Shaak Ti to her list of characters, as the beautifully exotic alien Jedi Master appears in the final episode.

Kevin Michael Richardson will provide the voice of the tusked Whiphid Jedi, K’Kruhk. He has leant his voice to Star Wars video games in the past, portraying Mace Windu and Eeth Koth in games such as Star Wars: Obi-Wan and Star Wars: Jedi Power Battles. He is the voice of Jolee Bindo in Star Wars: Knights of the Old Republic. He can also be heard as Deus Ex Machina in The Matrix: Revolutions.

Daran Norris, who voiced Durge in the first season, will play Jedi Masters Ki-Adi-Mundi and Daakman Barrek. Norris plays Mr. Turner on “The Fairly Odd Parents,” and he can be seen in Mark Hamill’s Comic Book: The Movie as an ersatz Commander Courage.

Playing Luminara Unduli is Cree Summer. Her distinctive voice is often recognized as Penny from the “Inspector Gadget” series, and she was on-camera on “A Different World” as Freddie. She has a connection to the animated Star Wars universe, providing the voice of Princess Kneesaa in the first season of “Ewoks.”

Tatyana Yassukovich plays Barriss Offee. She can be heard as the voice of the storyteller in 2000’s Chocolat.

Andre Sogliuzzo returns to play Captain Typho. The actor also provides the voice of all the clone troopers, the ARC troopers, and the battle droids. He also provided the voice of the clones in LucasArts’ Star Wars: Clone Wars video game.

Known to many fans as the voice of Bender on “Futurama,” John DiMaggio not only plays a Padawan in the micro-series, but is also the menacing voice of General Grievous in the series. General Grievous is an Episode III character who makes his debut in the final episode of Star Wars: Clone Wars. Don’t expect much in common between Grievous and Bender though. The General of the droid army isn’t likely to invite any Jedi to bite his shiny metal posterior.

Star Wars: Clone Wars micro-series begins again on March 26 on the Cartoon Network, and online on starwars.com Hyperspace, with exclusive audio commentary by creator Genndy Tartakovsky.

Thursday, March 18, 2004
Issue #106

Incredible Details
Continuing a tradition that began way back in 1997, illustrators Hans Jenssen and Richard Chasemore, along with senior art editor John Kelly, traveled across the ocean from England to California, spending a week at Skywalker Ranch. The two talented artists and intrepid book designer were visiting the Art Department last week to examine the many vehicles and elements that they will illustrate for the forthcoming Episode III Incredible Cross-Sections book, due out in 2005 by DK Publishing to coincide with the film’s release.

“Seven years ago…” reflects Jenssen, taken slightly aback after doing the math. “That’s when we cut our teeth doing the classic book. And then the Episode I vehicles book was the next one we did.” After the original trilogy and Episode I Incredible Cross-Section books, both artists went on to do similar books for Episode I locations, and Episode II vehicles and locations.

In those seven years, much has changed. Chasemore and Jenssen have had the unique opportunity to work closely with the designers of the prequels, and Episode III brings the evolution of technology and industrial design to the point closest to the original trilogy.

“Everything’s different now, particularly the way we get our reference,” says Chasemore. “We’re here getting angles, reference, finding out what’s been produced and what hasn’t. We’ve been allowed to have the actual digital models this time, which is new.” By basing their illustrations from digital concept models, the artists will be able to ensure an unprecedented accuracy in their eventual exploded-view illustrations of various Episode III vessels.

“One of the most valuable things of our visit is to be able to talk to the guys in the Art Department who designed all this stuff,” says Jenssen. “We’re able to talk about their ideas, and find out what their rationale was — or lack of rationale, whichever is the case — and making shapes of the ships.”

In addition to working with Ryan Church and Erik Tiemens, the Episode III Concept Design Supervisors, Chasemore and Jenssen have perused the Episode III Visual Script, a hefty white binder containing a chronological compendium of vehicles, characters and hardware in the film, presented scene-by-scene.

“I think there’s more varied vehicles of varying sizes, and a lot of things with big guns on it, which is always good,” says Chasemore. The two artists work together to divvy up the vehicles. Simplifying the process is the precedent of the other films and their previous cross-section illustrations.

“It’s usually quite obvious,” says Chasemore. “If Hans has already worked on a vehicle, and we’re seeing a newer or older version, we tend to do what we did in the past, so that evolution of technology is in the right style.”

This book will focus on vehicles, their preferred subject matter compared to the much more complex locations. “Locations easily swallow up 500 hours to 600 hours of work, while the biggest vehicle is about 400 hours at the most,” says Chasemore.

“You can scoot through the less complex vehicles in about 200 or 250 hours or so,” adds Jenssen.

That said, their proudest work can be found in the Insidethe Worlds of… book devoted to the original trilogy locales. Penned by James Luceno, this book is due for release this fall from DK, and peeks through the walls of such familiar locales as the Mos Eisley cantina, Echo Base, and the Emperor’s throne room.

“I finished that project about a week before I came out here,” says Chasemore. “That’s going to be the best book; it’s just awesome.”

Both Chasemore and Jenssen are scheduled to be guests at Jedi-Con 2004, running April 9-11 in Düsseldorf, Germany. They have secured permission to show some of their upcoming original trilogy work at the convention, providing fans with a first glimpse at some of their favorite pieces.

Thursday, April 01, 2004
Issue #107

The London Office
By Pablo Hidalgo

The Star Wars prequels have shot around the world, with Australia becoming the home base for principal photography for both Episodes II and III. Throughout the years, a crew from JAK Productions has maintained a London office at the famous Elstree Studios, as much of the behind-the-scenes talent calls the UK their home.

“I think a lot of people are surprised by how much work generates from here,” says Polly Leach, a Production Coordinator in the London Office. “There’s a very firm stronghold of the Lucasfilm and Star Wars empire in England.”

Crucial pre-production and planning stages occur in London for each episode, long before shooting actually began. Many of the key team members are JAK veterans, dating all the way back to The Young Indiana Jones Chronicles. “The Production Art Department and Costume Department were pretty busy over there, at the end of 2002 and the beginning of 2003,” says Leach. “Gavin Bocquet had a whole Art Department set up at Elstree Studios, with a lot of models and speeders for George to approve. Likewise, Trisha Biggar does a lot of her fabric buying in London, and she was buying non-stop to prepare for Episode III.”

With half a world dividing the preproduction and production headquarters, coordinators on both ends needed to work closely to ensure that everything — and everyone — arrived in Sydney and returned to London intact. Heading up the Production Office in Sydney was Virginia Murray, Production Coordinator. Leach stayed at Elstree, until the end of the shoot, when she flew over to Sydney to coordinate the return trip.

“I get the feeling that George Lucas and Rick McCallum are terribly fond of the United Kingdom, and it is so nice that Rick keeps a base here,” says Leach. One of her main functions during her stay in Sydney was to serve as Asset Supervisor, collating all the information about three movies’ worth of props, costumes, vehicles and more. “I helped Rick find a home for them, for the things he doesn’t need for pick-ups.”

The Production Office in Syndey coordinated the inclusion of a starwars.com presence on the set — in the form of daily from-the-set updates and a live webcam. Plans are in the works to try to bring the same Hyperspace access to the brief stint of additional photography in the UK this August.

Thursday, April 15, 2004
Issue #108

Sansweet’s Summer Star Wars Tour

This summer, fans can catch a true insider’s glimpse into what’s up in the Star Wars galaxy, straight from Steve Sansweet, head of Fan Relations at Lucasfilm, Ltd.

Just as the Star Wars saga has grown to be a vital force in popular culture through the years, Sansweet and his Star Wars presentations have become a part of popular convention culture. Fans who attend will enjoy a look into the making of the highly-anticipated Star Wars Episode III. Sansweet will also share insights into the DVD release of the original Star Wars trilogy, scheduled for this September, as well as news on other special events on the horizon.

Sansweet just returned from sharing a presentation with a large and enthusiastic group of fans at Jedi-Con IV in Düsseldorf, Germany the weekend of April 9-11. As he continues traveling to conventions this summer, he will continue to update his presentations. Fans never know when to expect a new surprise or two along the way.

Exciting visuals, audience questions, Lucasfilm answers — these not-to-be-missed presentations are planned for the following conventions this summer:*

WonderCon    April 30, May 1 & 2, Moscone Center, San Francisco
Star Wars Encuentros    July 16-18, World Trade Center, Mexico City
Comic-Con International    July 21 – 25, San Diego Convention Center
Wizard World Chicago    August 13-15, Rosemont Convention Center
GenCon Game Fair    August 19-22, Indiana Convention Center, Indianapolis
Dragon*Con    September 3-6, Atlanta, Georgia
*Schedule is subject to change. Please keep checking starwars.com for the latest updates, specific times, dates, and locations.

Thursday, April 29, 2004
Issue #109

The Hyperspace Horizon
By now Star Wars fans know that the Official Star Wars Fan Club and starwars.com Hyperspace have merged into one, offering the greatest Star Wars experience ever for subscribers. A year’s subscription includes a unique membership kit, six issues of the new-and-improved Star Wars Insider, as well as all the exclusive online content that current subscribers have been enjoying since the launch of Hyperspace in June of 2003. (Click here for more details!)

“Hyperspace subscribers have had a great year of unprecedented inside access and the response has been great,” says Director of Lucas Online, Paul Ens. “Now that Hyperspace is the online component of a larger Fan Club experience, we’re looking forward to new opportunities to make that fan experience even better this year.”

Episode III is what fans are most interested in, and the final Star Wars film will continue to be the focus for both Insider and starwars.com Hyperspace in 2004-2005. “Right now, we’re planning on webcam coverage of the additional round of shooting in August, as well as bringing back the Set Diaries direct from London,” says Ens.

In the meantime, subscribers can look forward to an inside look at a big Lucasfilm event planned for this summer. “Hyperspace really became ‘the-next-best-thing-to-being-there’ during Sydney, and we want to continue that during the convention season,” says Ens. “That’s why we’re working on letting subscribers in on some of the surprises that will be unveiled this summer at Lucasfilm’s big Comic-Con presence. If you can’t make it to San Diego, then tuning into starwars.com Hyperspace is the next best thing.”

One of the new features for 2004 is a brand new Episode III photo series unlike any previously run on the site. “It’s quite different as it’s very interactive, and it will allow users to explore some of the Episode III production environments in a new way,” says Ens.

“A key element to Star Wars’ success has always been the collective experience, be it waiting in line, watching the movie in a packed theater, creating new adventures with action figures, gathering at a Star Wars Celebration or knowing you’re reading the same Star Wars novel as thousands of other fans at the same time,” says Ens.

“The internet has redefined what the concept of a community can be, and it only makes sense for the Official Fan Club to embrace and facilitate this important aspect of being a fan. This fall, look for new ways for fans to reach out to other fans, spotlight their fan groups, or share their creativity or opinions with their local and global communities.

“Naturally, look for Hyperspace to tie-in closely with this fall’s Episode III teaser trailer and Star Wars Trilogy release on DVD,” says Ens, “and making those landmark events even better for our members. Plenty of other surprises are also in store… stay tuned.”

Thursday, May 13, 2004
Issue #110

Attack of the Cloned Actors

Star Wars wouldn’t be the Star Wars without its various species and unusual creatures that dominate the screen. No one understands the importance of latex masks, fake appendages and creepy eyes than Episode III Creature Shop Creative Supervisor, Dave Elsey.

“We create anything that’s not human — all of the aliens basically,” Elsey explains. “This includes anything that has any appendages, horns, contact lenses, teeth, and eyes — right up to full suits and animatronics.”

When an actor who must undergo prosthetic makeup first arrives on the Episode III set, he or she will meet Elsey and his team and then prepare the daunting undertaking of being cloned — that is, having a duplicate made of their faces.

“Usually our initial dealing with the actor is when they arrive and meet us for the first time, we shake hands, and then we get them to strip down and wrap them in plastic and put bald caps on their heads,” Elsey explains. “Then we take what is called a ‘life cast,’ which is a plaster cast of their heads. Actually, it’s quite a good ice breaker, because the first thing we do is dump a load of gunge on their head and we use a material called alginate, which is used for dental casts. We basically mix up a bucket of that and we completely cover their heads in that material, then we back that up with plaster bandages and open it up and we make plaster casts. These casts have to be very, very detailed for what we’re doing — literally every skin pore has to be in the right place.”

These casts serve as stand-ins for the real faces during the time-consuming sculpting phase. The artists in the Creature Shop build their material atop the casts, so that when their masks are finalized, they will fit perfectly to an actor’s features. When the pieces of prosthetic makeup are ready to go on the actor, he orshe will often sit in the makeup chair for hours as Elsey’s team carefully place each piece in its exact place.

“It’s good for the actor, because he gets to sit there and watch the whole thing develop from the makeup chair, right from scratch, because he has no idea really what’s going to happen up until that point.” In one unusual instance, Elsey and his team were asked to create an exact duplicate of Ewan McGregor as Jedi MasterObi-Wan Kenobi, which was later nicknamed Foamy-Wan Kenobi.

“When the scripts arrived it seemed that Hayden Christensen was going to be carrying around Ewan for days on the shoot, and we didn’t want Hayden to put his back out straight away as soon as he started production. So we made a lightweight version that looks exactly like Ewan. It’s going to be a very interesting collector’s piece by the end of the movie,” Elsey chuckles.

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 2022-06-18 04:38:24.

Black Milk Star Wars: Fan Fashion

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Black Milk Star Wars: Fan Fashion

James Lillis

I grew up in the ’80s. I’ll never forget when I was a kid, going down to the store with my loose change to get the latest bubble gum cards from my favorite movie — Return of the Jedi. I would spend hours pouring over all the classic cards in my collection, looking at all my favorite characters. When people asked me what I wanted to be when I grew up, I said “Han Solo.”

As it turned out, when I grew up I didn’t become a galactic smuggler — I became a fashion designer.

Chewie leggings 2So it has been something of a dream come true for me that I have been able to produce a collection for Black Milk based on Star Wars. For those of you who don’t know, Black Milk is a bit unusual — is it a fashion label, an elaborate social experiment, or a cult? (For anyone wondering — it’s all of the above.)

It has been lots of fun creating these pieces. So I want to send out MASSIVE love to all the Sharkies around the world who have supported us and fangirled over the Star Wars collection. (”Sharkies,” for the uninitiated, are ravenous predators that savagely attack the Black Milk web store every time there is a new product release.) You guys look amazing!

The support of Lucasfilm in making this happen has been fantastic and I am really grateful for it. Like us at Black Milk, they seem to really like girls, swimsuits, tights, and Star Wars.

But then again…who doesn’t?

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 2022-09-11 12:34:05.

Behind the Scenes Archive

Here you’ll find a collection of old features pertaining to various articles to do with the movies, in front & Behind-the-Scenes at SW.Com

Today, we have a small collection of thumbs of Behind the Scenes imagery. Check out the small gallery.

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 2022-08-07 16:17:49.

Star Wars | Episode VIII: The Last Jedi

Star Wars – Episode VIII: The Last Jedi

Get ready to dive into the Star Wars universe like never before! This official adaptation of Star Wars: The Last Jedi, written with the help of the film’s director Rian Johnson, pulls back the curtain on scenes from alternate versions of the script and other additional content.

As the galaxy tries to recover from the ashes of the Empire, a new threat has emerged in the form of the ruthless First Order. But hope is not lost, as a group of new heroes have risen to the challenge of fighting for the galaxy’s freedom. Join Rey, the orphan strong in the Force; Finn, the ex-stormtrooper fighting against his former masters; and Poe Dameron, the fearless X-wing pilot as they fight side-by-side with General Leia Organa and the Resistance.

But the champions of light are up against a formidable enemy with superior numbers and devastating firepower. The First Order’s Supreme Leader Snoke and his merciless enforcer Kylo Ren are determined to crush the resistance once and for all. The champions of light may be facing their extinction, but their only hope lies in a lost legend: Jedi Master Luke Skywalker.

With the action picking up right where Star Wars: The Force Awakens left off, Star Wars: The Last Jedi takes you on a thrilling ride as the battle between light and dark reaches new heights. This adaptation even includes an 8-page color photo insert of awe-inspiring images from the hit movie. So, get ready to immerse yourself in the epic world of Star Wars like never before!

Sources:

Wookieepedia
Read Star Wars
Jedi Temple Archives
Yoda’s Datapad

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 2023-05-09 16:35:06.

Return of the Jedi | Art

Welcome to the Star Wars Gallery.  A collection of some great images from Star Wars: Episode VI – Return of the Jedi.

Below you will find a Gallery of Star Wars Art from the third film in the series, from way back in 1983.

I hope you enjoy them.

[foogallery id=”226262″]

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 2023-05-02 22:00:16.

Revenge of the Sith

Star Wars Episode III: Revenge of the Sith

Release Date: May 19, 2005

Synopsis: (19 Years before Episode IV) Three years after the onset of the Clone Wars, the noble Jedi Knights have been leading a massive clone army into a galaxy-wide battle against the Separatists. When the sinister Sith unveil a thousand-year-old plot to rule the galaxy, the Republic crumbles and from its ashes rises the evil Galactic Empire. Jedi hero Anakin Skywalker is seduced by the dark side of the Force to become the Emperor’s new apprentice – Darth Vader. The Jedi are decimated, as Obi-Wan Kenobi and Jedi Master Yoda are forced into hiding. The only hope for the galaxy are Anakin’s own offspring – the twin children born in secrecy who will grow up to become Luke Skywalker and Princess Leia Organa.

Opening Crawl:

War! The Republic is crumbling under attacks by the ruthless Sith Lord, Count Dooku.
There are heroes on both sides. Evil is everywhere.

In a stunning move, the fiendish droid leader, General Grievous, has swept into the Republic capital and kidnapped Chancellor Palpatine, leader of the Galactic Senate.

As the Separatist Droid Army attempts to flee the besieged capital with their valuable
hostage, two Jedi Knights lead a desperate mission to rescue thecaptive Chancellor….

Awards: Academy Award Nominee: Best Achievement in Makeup

Saturn Award Winner: Best Music, Best Science Fiction Film. Saturn Award Nominee: Best Actor, Best Actress, Best Costume, Best Direction, Best Make-Up, Best Special Effects, Best Supporting Actor, Best Writing.

Cast

Obi-Wan Kenobi
Padmé
Anakin Skywalker
Supreme Chancellor Palpatine
Mace Windu
Senator Bail Organa
Yoda
C-3PO
Count Dooku
Queen of Naboo
Ki-Adi-Mundi & Nute Gunray
Captain Typho
Tion Medon
Governor Tarkin
Commander Cody
Mas Amedda
Sio Bibble
Jar Jar Binks
Captain Antilles
Captain Colton
Terr Taneel
R2-D2
Plo Koon
Chewbacca
Queen of Alderaan
Owen Lars
Beru
Zett Jukassa
Agen Kolar
Senator Orn Free Taa
Saesee Tiin
Aayla Secura
Clone Trooper
Ruwee Naberrie
Jobal Naberrie
Sola Naberrie
Ryoo Naberrie
Pooja Naberrie
Sly Moore
Chi Eekway
Mon Mothma
Fang Zar
Malé-Dee
Nee Alavar
Giddean Danu
Voice of General Grievous
Moteé
Whie
Bene
Wookiees

 

Ewan McGregor
Natalie Portman
Hayden Christensen
Ian McDiarmid
Samuel L. Jackson
Jimmy Smits
Frank Oz
Anthony Daniels
Christopher Lee
Keisha Castle-Hughes
Silas Carson
Jay Laga’Aia
Bruce Spence
Wayne Pygram
Temuera Morrison
David Bowers
Oliver Ford Davies
Ahmed Best
Rohan Nichol
Jeremy Bulloch
Amanda Lucas
Kenny Baker
Matt Sloan
Peter Mayhew
Rebecca Jackson Mendoza
Joel Edgerton
Bonnie Maree Piesse
Jett Lucas
Tux Akindoyeni
Matt Rowan
Kenji Oates
Amy Allen
Bodie ‘Tihoi’ Taylor
Graeme Blundell
Trisha Noble
Claudia Karvan
Keira Wingate
Hayley Mooy
Sandy Finlay
Katie Lucas
Genevieve O’Reilly
Warren Owens
Kee Chan
Rena Owen
Christopher Kirby
Matthew Wood
Kristy Wright
Coinneach Alexander
Mousy McCallum
Michael Kingma
James Rowland
Axel Dench
David Stiff
Steven Foy
Robert Cope
Julian Khazzouh
Crew
Written and Directed by
Produced by
Executive Producer
Director of Photography
Production Designer
Edited byCostume Designer
Casting by
Sound Design by
Music by

 

George Lucas
Rick McCallum
George Lucas
David Tattersall, B.S.C.
Gavin Bocquet
Roger Barton
and
Ben Burtt
Trisha Biggar
Christine King
Ben Burtt
John Williams

Visual Effects Supervisors

Animation Director
Concept Design Supervisors

Swordmaster/Stunt Coordinator
Production Supervisor
First Assistant Director
Second Assistant Director
Second Second Assistant Director

Supervising Art Director
Art Directors

Assistant Art Directors

Art Department Coordinator
Senior Draftspeople

Junior Draftspeople

Concept Draftsperson
Conceptual Researcher

Art Department Runner
Art Department Supervisor
Concept Artists

Concept Sculptors

Senior Concept Model Maker
Concept Model Makers

Art Department Assistants

Pre-Visualization/Effects Supervisor
Pre-Visualization/Effects Artists

Assistant Stunt Coordinator
Palpatine Fencing Double
Anakin Stunt Double
Palpatine Acrobatic Double
Palpatine Stunt Double
Stunt/Safety Assistant
Dooku Fencing Double
Obi-Wan Stunt Double
Head Stunt Rigger
Stunt Riggers

Production Coordinator
Assistant Production Coordinators

Production Secretary
Network Assistant
US Assistant to Rick McCallum
Australian Assistant to Rick McCallum
Executive Assistants to George Lucas

Assistant to George Lucas
IT Manager
Network Manager
Unit Nurses

Medic
Script Supervisor
Dialogue Coach
Casting Assistant
Extras Casting
Artists’ Assistants

Third Assistant Director
Set PA
Production Assistants

CGI Character Reader
Production Runners

Production Controller
Production Accountant
First Assistant Accountant
Second Assistant Accountant
Payroll Accountant
UK Production Accountant
US Accounting Manager
Art Department Accountant
High Definition Supervisor
Camera Operator
Camera Operator/Steadicam Operator
Focus Pullers

Camera Assistants

High De.nition Camera Assistant
Video Split Operator
Video Split Assistant
Matchmove Assistants

Techno Crane Operators

Key Grip
Dolly Grips

Key Rigging Grip
Best Boy Grip

Rigging Grips

Grips

Sound Recordist
Boom Operator
Sound Assistant
Set Decorator
Assistant Set Decorator
Prop Buyer
Set Decorating Buyer
Props Coordinator
Set Decorating Coordinator
Model Making Coordinator
Prop Dressing Leading Hands

Upholsterer
Assistant Upholsterer
Stand-By Propman
Assistant Stand-By Propmen

Practical Electrician
Assistant Electrician
Property Master
Assistant Property Master
Model Shop Supervisor
Model Shop Foreman
Model Making Leading Hands

Mould Making Foreman
Pattern Maker
Lead Engineer
Engineer
Light Sabre Technician
Prop Storeman/Dresser
Props Runner

Model Shop Runner
Prop Dressers

Model/Mould Makers

Assistant Costume Designer
Costume Supervisor
Costume Props Supervisor
Assistant Costume Props Supervisor
Costume Administrator
Leather Accessories
Milliner
Costume Coordinator
Costume Assistant
Fabric Printer
Fabric Dyer
Cutters

Costume Makers

Costume Props

Costume Buyers

Costume Workroom Assistant
Beader
Costume Runners

Wardrobe Supervisor
Key Costume Stand-By
Costume Stand-Bys

Special Embroidery by
Construction Manager
Assistant Construction Managers

Construction Foremen

Leading Hands

Steel Foreman
Steel Leading Hands

Leading Hand Tool Technician
Stand-By Carpemter
Stand-By Painter
Construction Coordinator
Construction Buyers

Head Rigger
Supervising Riggers

Rigging Foreman
Leading Hand Riggers

Head Fibrous Plasterer
Supervising Plasterers

Plaster Foremen

Plaster Leading Hand
Head Scenic Painter
Head Scenic Foreman
Scenic Foremen

Scenic Leading Hands

Sculptor Foreman
Construction Runner

 

John Knoll
Roger Guyett
Rob Coleman
Erik Tiemens
Ryan Church
Nick Gillard
Stephen Jones
Colin Fletcher
Deborah Antoniou
Paul SullivanPeter Russell
Ian Gracie
Phil Harvey
Jacinta Leong
Damien Drew
Karen Murphy
Clive Memmott
Colette Birrell
Edward Cotton
Cindi Knapton
Andrew Chan
Kristen Anderson
Andrew Powell
Simon Elsey
Katie Carter
Matt Saxon
David Craig
3d Animator
Lizzie Burt
Dianne Hardman
Fay David
Sang Jun Lee
Feng Zhu
T.J. Frame
Derek Thompson
Iain McCaig
Warren Fu
Stian Dahlslett
Gert Stevens
Robert E. Barnes
Michael Patrick Murnane
Geoff Kemmis
Shari Finn
Michael Kelm
Christopher Tangney
Nicholas Tory
Chris Penn
Stephanie Lostimolo
Charlie Cobb
Daniel D. Gregoire
Euisung Lee
Nicholas Markel
Gregory Rizzi
Bradley Alexander
Nathan Frigard
Barry Howell
Dorian Bustamante
Joshua Wassung
Eric Carney
Chris Edwards
Hiroshi Mori
Ryan Heuett
Richard Boué
Michael Byrne
Ben Cooke
Sebastian Dickins
Bob Bowles
Dean Gould
Kyle Rowling
Nash Edgerton
George Saliba
Scott McLean
Michael Saliba
Chris Mitchell
Virginia Murray
Nicholas Copping
Polly Leach
Kate Hilliard
Kenji Oates
Ardees Rabang
Jacqui Louez
Jane Bay
Sarita Patel
Anne Merrifield
Paul Matwiy
Peter Hricak
Marguerite O’Sullivan
Liz Abbott
Robert McMinn
Jayne-Ann Tenggren
Christopher Neil
Trish McAskill
Maura Fay & Associates
Lawrence Foster
Leonard Thomas
Samantha Smith
Hamish Roxburgh
Samata Preston
Stephanie Borean
Duncan Young
Christa Gattermeier
Christopher Lee
Bjorn Johnson
Anna Steel
Kathryn Ramos
Kevin Plummer
Patrick Plummer
Ian Bywater
Belinda Cahill
Rajeshree Patel
Wendy Gorman
Aidan Corcoran
Fred Meyers
Calum McFarlaneSimon Harding
Matt Toll
Tov Belling
Simon Williams
Lee Mariano
Matt Hunt
Michael Taylor
Mark Alston
Felix Pomeranz
Malcolm Eager
Geoff Brown
Paul Micallef
David Nichols
Brett McDowell
Mick Vivian
Karl Rickard-Worth
James Hopwood
Jason McPhee
Dave Thomson
Scott Ryan
Stuart Bell
Mardi Thompson
Paul ‘Salty’ Brincat
Rod Conder
Nicole Miller
Richard Roberts
Bev Dunn
Andrew Crichton
Christopher Tomkins
Sarah Linton
Helena Donahue
Tanya Harper
Dion Horstmans
Matthew Milgate
Bryce Tibbey
Ian Andrewartha
Sandra Carrington
Robert Moxham
Peter Kodicek
Gabriel Smith
Graham Beatty
Matthew Dargaville
Ty Teiger
John-Paul (Lon) Lucini
Peter Wyborn
Trevor Smith
Nick Bernyk
Adam Grace
Lewis Morley
Keith Rae
Guy Masek
Martin Crowther
Cal Foote
Thomas Van Koeverden
Matthew Cook
Christopher Cleary
Greg Refeld
Peter Livesey
Zvika Aloni
Matthew Wyles
Sarah Jenneson
Mark Battaglene
Greg Vowles
Billy Demery
Jeremy Fuller
Danny O’Regan
Bryan Bell
Piero Di Giovanni
Bert Burless
Phillip Beadsmoore
Chris Marinovich
Peter Thompson
Simon Bethune
Craig Martin
David Willis
Brad Burnet
Simon Mouncey
Andrew Hardingham
Konrad Hartmann
Andrew Thilby
Rowan Wademan
Michael Mooney
Nicole Young
Ivo Coveney
Martin Rezard
Gillian Libbert
Ken Barnett
Rick McGill
Claire Worlidge
Sonia Cauhepe
Natalie Bracher
Genevieve Blewitt
Anthony Phillips
Allan Lees
Kay Coveney
Judith Meschke
Terry Thorley
Sarah Humphrey
Alice Vargas
Fiona Nichols
Rachel Impey
Alex Sommer
Robin Hall
Musette Molyneaux
Aimee Easter
Kumiko Black
Danielle Lawson
Joanne Grenke
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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 2022-07-21 20:05:30.

The Clone Wars Episode Guide: Citadel Rescue

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

The Clone Wars Episode Guide: Citadel Rescue

Episode No.: 64 (Season 3, Episode 20)
Production No.: 317 (Season 3, Episode 17)
Original Air Date: March 11, 2011

“Without honor, victory is hollow.”

Written by Matt Michnovetz
Directed by Steward Lee

Cast:
James Arnold Taylor as Obi-Wan Kenobi | Osi Sobeck | Plo Koon
Matt Lanter as Anakin Skywalker
Ashley Eckstein as Ahsoka Tano | K2-B4
Blair Bess as Even Piell
Dee Bradley Baker as clone troopers | Saesee Tiin | Admiral Coburn
Stephen Stanton as Tarkin
Tom Kane as the narrator | Yoda
Matthew Wood as battle droids
Corey Burton as Count Dooku
Terrence Carson as Mace Windu
Angelique Perrin as Adi Gallia


Synopsis: After their ship and only way off the planet is destroyed, Anakin and Obi-Wan must lead the escaped prisoners across Lola Sayu’s perilous landscape as Plo Koon commands a task force of four cruisers and their fighters through the Separatist defenses in a daring rescue. Even Piell is ravaged by anooba tracking beasts, but before he dies, he passes on his Nexus Routes coordinates to Ahsoka. When the survivors return to Coruscant, Ahsoka knows half the intel, and refuses to disclose it to anyone but the Jedi Council, while Tarkin refuses to hand over his half to anyone other than the Chancellor.

Returning Characters: Anakin Skywalker, Obi-Wan Kenobi, Ahsoka Tano, R2-D2, Clone Captain Rex, Clone Commander Cody, Fives, OOM-10, K2-B4, Plo Koon, Mace Windu, Saesee Tiin, Adi Gallia, Kit Fisto, Count Dooku

Worlds Visited: Lola Sayu, Coruscant

Secrets Revealed

  • The Citadel combat scenario seen during the clone training sessions in “Clone Cadets” are named after the Citadel installation in this trilogy.
  • When escaping the crab droids, Commander Cody pulls a move that one of his clone troopers in Episode III will later do on Utapau — running atop a crab droid and gunning it down.
  • The Expanded Universe of Star Wars novels originally had Even Piell survive the Clone Wars only to be killed while as a fugitive in the early days of the Empire. Piell’s death in the Citadel Mission is the character’s true fate.
  • In the script for this episode, Osi Sobeck was to have been killed by Tarkin. Tarkin would have shot an unarmed Sobeck in cold blood, causing the Jedi to further question his honor.
  • When Saesee Tiin refers to “the Old Republic,” he is talking about the government that predates the modern founding of the Galactic Republic 1,000 years ago. That is a time of great strife and conflict, when the Sith battled against the Jedi.
  • Saesee Tiin’s starfighter has the same pattern on it as Ahsoka Tano, but in a different color. Likewise, Adi Gallia’s fighter has the same pattern as Plo Koon’s starfighter, seen in earlier episodes.
  • During the space battle, a clone trooper aboard an exploding Republic vessel lets out a distinct, high-pitched scream. This scream, called the “Wilhelm,” is an old sound effect that dates back to the 1930s, and appears in all six of the live action Star Wars feature films.
  • The Plo’s Bros gunship that rescues the strike team from Lola Sayu is designated a “space gunship”, with a sealed cabin and search spotlights mounted in the gunnery sockets.
  • The anoobas are actually a concept designed for Episode I by concept artist Terryl Whitlatch, who explored the sharp-toothed hound as a possible creature on Tatooine.
  • The cage the anoobas are kept in was visually inspired by the velociraptor cages in Jurassic Park.

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 2023-07-16 12:00:54.

Kenobi

Below you will find a Gallery of images, the which includes Artwork, Episode Stills, Concepts Storyboards etc.

I hope you enjoy them.

And check out this great Kenobi article

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Kenobi

The Star Wars franchise has captured the hearts of millions of fans around the world, and now, the highly anticipated Obi-Wan Kenobi series is set to take the galaxy by storm. As a devoted Star Wars fan myself, I cannot wait to witness the return of one of the most beloved Jedi Masters in the Star Wars universe. In this article, we will delve into the backstory of Obi-Wan Kenobi, explore the casting and production updates, make predictions about the plot and storyline, discuss the significance of the series in the Star Wars universe, uncover Easter eggs and references for die-hard fans, compare it to other Star Wars series and films, and delve into fan theories and speculation. Join me on this exciting journey as we prepare for the release of the Obi-Wan Kenobi series on Disney+.

The Backstory of Obi-Wan Kenobi

Obi-Wan Kenobi, portrayed by the legendary Sir Alec Guinness in the original trilogy and Ewan McGregor in the prequel trilogy, is a character deeply embedded in Star Wars lore. From his humble beginnings as a Padawan learner to his transformation into a wise and experienced Jedi Knight, Obi-Wan has played a pivotal role in shaping the events of the Star Wars saga.

The Obi-Wan Kenobi series promises to explore the character’s backstory in greater detail, shedding light on his training under Qui-Gon Jinn, his relationship with Anakin Skywalker, and his experiences during the Clone Wars. It will provide fans with a deeper understanding of the Jedi Master’s motivations, struggles, and triumphs, giving us a chance to see Obi-Wan Kenobi in a whole new light.

Casting and Production Updates

The casting of Ewan McGregor as Obi-Wan Kenobi was met with overwhelming excitement from fans. McGregor’s portrayal of the character in the prequel trilogy was widely praised, and his return to the role has been long-awaited. Joining McGregor in the series is a talented ensemble cast, including Hayden Christensen reprising his role as Anakin Skywalker/Darth Vader, and new additions such as Indira Varma, Kumail Nanjiani, and Moses Ingram.

The production of the Obi-Wan Kenobi series has been meticulously planned to ensure a high-quality and immersive viewing experience. The series will be helmed by director Deborah Chow, known for her exceptional work on the critically acclaimed series “The Mandalorian.” With a skilled director, a talented cast, and a dedicated production team, the stage is set for the Obi-Wan Kenobi series to be a monumental addition to the Star Wars universe.

Plot and Storyline Predictions

While details about the plot of the Obi-Wan Kenobi series have been kept tightly under wraps, there are several theories and speculations circulating among fans. One prevailing theory suggests that the series will explore Obi-Wan’s time on Tatooine, watching over a young Luke Skywalker from the shadows. This period in Obi-Wan’s life, often referred to as his “hermit years,” presents an intriguing opportunity to delve into the character’s introspection, inner struggles, and his continued battle against the dark side.

Another popular prediction is that the series will feature epic lightsaber duels between Obi-Wan and Darth Vader, showcasing their intense rivalry and the emotional weight of their confrontations. The Obi-Wan Kenobi series has the potential to provide us with a deeper understanding of the conflict between these two iconic characters and the impact it has on the Star Wars saga as a whole.

Characters to Expect in the Series

Apart from the return of Ewan McGregor as Obi-Wan Kenobi and Hayden Christensen as Anakin Skywalker/Darth Vader, the Obi-Wan Kenobi series will introduce new characters that will undoubtedly leave a lasting impression on fans. Indira Varma’s character is still shrouded in mystery, but her involvement in the series has sparked much speculation. Will she be a friend or a foe to Obi-Wan? Only time will tell.

Kumail Nanjiani and Moses Ingram’s roles are also subject to much anticipation and curiosity. Nanjiani’s comedic prowess and Ingram’s rising star power make their characters exciting additions to the series. Who they will portray and how their stories will intertwine with Obi-Wan’s narrative remains to be seen.

The Significance of the Obi-Wan Kenobi Series in the Star Wars Universe

The Obi-Wan Kenobi series holds immense significance within the Star Wars universe. As one of the most iconic characters in the franchise, Obi-Wan’s story carries weight and importance. The series has the potential to expand on the themes of redemption, sacrifice, and the eternal struggle between good and evil that are at the core of the Star Wars saga.

In addition, the series will provide fans with a deeper understanding of the Jedi Order, its teachings, and the complexities of the Force. The exploration of Obi-Wan’s journey as a Jedi Knight will allow us to delve into the rich mythology and philosophy that has made Star Wars a cultural phenomenon.

Easter Eggs and References for Die-Hard Star Wars Fans

For die-hard Star Wars fans, part of the joy of watching any new installment in the franchise lies in spotting Easter eggs and references to previous films and series. The Obi-Wan Kenobi series is sure to be filled with these delightful nods to the past.

From subtle hints in the dialogue to visual cues in the set design, every detail has the potential to ignite excitement and nostalgia. Whether it’s a familiar droid, a mention of a historic event, or a cameo appearance by a beloved character, these Easter eggs and references serve as a testament to the interconnectedness of the Star Wars universe and reward fans for their dedication and love for the franchise.

Comparisons to Other Star Wars Series and Films

As the Star Wars universe continues to expand with new series and films, it is natural to draw comparisons between different installments. The Obi-Wan Kenobi series will undoubtedly be compared to other Star Wars series such as “The Mandalorian” and films like “Rogue One: A Star Wars Story,” which have received widespread acclaim.

However, it is important to appreciate each installment for its unique contributions to the Star Wars mythos. The Obi-Wan Kenobi series has the potential to carve out its own place in the hearts of fans, offering a distinct narrative that explores the depths of the Jedi Master’s character and the impact he has had on the galaxy.

Fan Theories and Speculation

The release of any highly anticipated series or film inevitably sparks a flurry of fan theories and speculation. The Obi-Wan Kenobi series is no exception. From discussions about potential cameos by other Star Wars characters to predictions about the fate of Obi-Wan and Darth Vader, fans are eagerly sharing their theories and engaging in lively debates.

While some theories may be closer to the truth than others, the beauty of fan speculation lies in the shared excitement and anticipation for what lies ahead. As we eagerly await the release of the Obi-Wan Kenobi series, let us revel in the joy of exploring these theories and the endless possibilities they bring.

Conclusion and Anticipation for the Release of the Obi-Wan Kenobi Series

The upcoming Obi-Wan Kenobi series on Disney+ has the potential to be a game-changer for the Star Wars franchise. With its exploration of Obi-Wan’s backstory, its talented cast, and its promise to deliver epic lightsaber duels and emotional conflicts, the series is poised to captivate both long-time fans and newcomers to the Star Wars universe.

As we embark on this journey through a galaxy far, far away, let us embrace the excitement and anticipation that comes with every new installment in the Star Wars saga. May the Force be with us as we eagerly await the release of the Obi-Wan Kenobi series. May it transport us to a world of adventure, emotion, and timeless storytelling that has defined Star Wars for generations.

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 2023-05-22 12:30:07.

Empire Chronicles: Emperor Palpatine

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Empire Chronicles: Emperor Palpatine

“There is a great disturbance in the Force”

In the spirit of Empire‘s 30th anniversary this week (May 21st), we felt that a visit from one of the film’s most resonant characters — Emperor Palpatine — was in order, given his pivotal role within the Star Wars saga.

Turning in a performance that lasted less than a minute, Empire‘s Palpatine gave audiences their first exposure to the deeper mysteries of the Sith, a term that was still vaguely defined at the time (in fact, most fans hadn’t even heard of the Sith until the word appeared on a 1977 Star Wars bubblegum card).

What makes the Emperor’s appearance in Empire noteworthy to those with a scholarly interest in the films is the character’s different voice and appearance in the 1980 original — different, that is, from Ian McDiarmid’s Palpatine performances in Return of the Jedi and the prequels. For the 2004 DVD release of Empire, Ian McDiarmid gave a new performance — with a couple dialog tweaks — for the film’s Emperor, giving the character a uniform look and voice to mesh seamlessly with the rest of the saga.

Since our Empire Chronicles feature strives to document the behind-the-scenes story of the characters, creatures, and spacecraft of The Empire Strikes Back, we’re limiting our discussion of Emperor Palpatine to his original 1980 performance, which consisted of a woman’s face, a Broadway actor’s voice, and — would you believe — a chimpanzee’s eyes.

George Lucas (ghost-written by Alan Dean Foster)
“Aided and abetted by restless, power-hungry individuals within the government, and the massive organs of commerce, the ambitious Senator Palpatine caused himself to be elected President of the Republic. He promised to reunite the disaffected among the people and to restore the remembered glory of the Republic. Once secure in office he declared himself Emperor, shutting himself away from the populace. Soon he was controlled by the very assistants and boot-lickers he had appointed to high office, and the cries of the people for justice did not reach his ears.”
— Prologue, Star Wars: A New Hope novelization (Nov 1976)

Early concept sketches for the Emperor by Ralph McQuarrie

Laurent Bouzereau, author
“During meetings George Lucas and [initial screenwriter] Leigh Brackett decided that the Emperor and the Force had to be the two main concerns in the film; the Emperor had barely been dealt with in the first movie, and the intention in the sequel was to deal with him on a more concrete level. Eventually this idea was used later on, in the third film. The Emperor, however, was then envisioned as a bureaucrat, Nixonian in his outlook and sort of a Wizard of Oz-type person.
— Star Wars: The Annotated Screenplays (1997)

Mark Hamill, actor, “Luke Skywalker”
“Originally, I saw a lot of sketches [of the Emperor], and I told them how I thought he should be. I thought he should be like the Wizard of Oz. Maybe the images should change so you can’t really get a fix on him. Have it like a beautiful woman’s lips moving, and that fades to a stop-frame animation creature, to an actor in makeup. So you just can’t pin it down.”

“The first time I saw the Emperor I was disappointed. I thought he was too human, too ordinary. You figure if Darth Vader bows and says, ‘Yes, My Lord,’ the guy’s got to be a real horror. But it’s interesting because the Emperor was an actress, dubbed with a male voice, and monkey’s eyes superimposed.”
— Starlog #40 (Nov 1980)

Ken Ralston, Effects Cameraman
“To create the hologram of the Emperor we shot a person in makeup with the eye sockets blacked out. George wanted to put some different, stranger eyes in the Emperor so we wound up shooting a chimpanzee and then match-moving the eyes into the Emperor. That was again rephotographed off of a television screen to get the look of the hologram.”
— Star Wars: The Definitive Collection laserdisc commentary (1993)

Clive Revill, original voice of “Emperor Palpatine” for 1980 release
“I’d done a film for [Empire director] Irvin Kershner called A Fine Madness…I got a call from Kershner, and he said, ‘Listen, I want you to come down and read something.’ I didn’t have anything planned that day, so I went down to the recording studio. He showed me some clips, and he said, ‘Read it and get some oomph in it.’ So I read the stuff through, and gave it the oomph, and they tinkered around with it — and the result is that I get a lot of mail.”
— Star Wars Insider #49 (May/June 2000)

Michael Matessino, author
[Regarding the music in the Emperor scene]: “For this ominous sequence, [composer John] Williams applies very quiet atonal strings and celeste.”
— The Empire Strikes Back: Special Edition Soundtrack liner notes (1997)

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 2023-02-15 08:00:29.

A Galaxy in Ruin

Welcome to a look Inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

A Galaxy in Ruin – An Interview with Michael A. Stackpole

Perched on the edge of the galaxy, waiting to pounce on an unsuspecting Republic, is an alien threat bent on domination. The Yuuzhan Vong continue their vicious incursion into New Republic space, and no one — not even the beloved heroes of The New Jedi Order — is safe. The epic novel series that expands the Star Wars universe more than two decades after the Battle of Yavin continues with this month’s release of Ruin, the second book in the Dark Tide paperback duology.

For author Michael A. Stackpole, Ruin marks his eighth Star Wars book. The popular novelist has written five books of the bestselling X-Wing series, and the stand-alone novel I, Jedi.

“I was lucky enough to be asked to participate in planning The New Jedi Order story-arc,” says Stackpole. “In March of 1998 and again in 1999 I attended meetings at Skywalker Ranch along with Shelly Shapiro and Steve Saffel of Del Rey; Sue Rostoni, Lucy Wilson, Allan Kausch and Howard Roffman of Lucas Licensing; and authors James Luceno and Kathy Tyers to set up the series, then work out the details of its progressions.”

Stackpole recounts, “The discussions were wide-ranging, starting with the universe as a whole and the characters we wanted to have involved; how the series and characters would evolve and then details like aspects of Yuuzhan Vong society and, yes, the dreaded decision to splash a main character.”

The New Jedi Order, specifically the first novel, Vector Prime, is easily the most controversial book in Star Wars’ expanded universe, for it depicts Chewbacca dying in a Yuuzhan Vong-orchestrated catastrophe. Although such a bold move is shocking to many fans, it is a needed dramatic point in the storyline. It has opened up new avenues of drama to authors, as now the novels of The New Jedi Order have the ability to indelibly mark the Star Wars universe.

“Because the immunity bubble had been popped,” says Stackpole, “the suspense factor was a lot higher in the novels. If it looked like someone was going to die, the readers could legitimately fear they would die.”

Such grave story options don’t come lightly to the author. “In terms of killing characters and participating in major events like that, I did realize I had a solemn duty to make sure any death fit with the life of the character in question. I’m pleased with my work in that regard in Ruin.”

For the first time, one of Stackpole’s novels sits at the end of the timeline. In his past works, his stories have had to rest between the previously published works of others. For instance, his X-Wing series had to set up the events of the coming Thrawn Trilogy. The novel I, Jedi took place concurrently with the events of the Jedi Academy Trilogy.

“Oddly enough, I wasn’t as free this time as it might seem,” says Stackpole, “since I had to take a handoff from R.A. Salvatore’s Vector Prime, and set things up for Jim Luceno’s Hero’s Trial. Because what would happen in my novels had been the subject of discussion at the meetings, what I was doing was fairly well set in stone. That’s fine for me. I never have seen needing to fit my work into a timeline as at all limiting. Truth be told, I like doing that, because I can foreshadow with impunity, or posit other meanings for events that have happened in the past.”

That the Dark Tide series was the first of The New Jedi Order in paperback did affect Stackpole’s approach, particularly in presenting the villains of the saga. Because some readers would hold off buying Vector Prime in hardback, Dark Tide I: Onslaught would be the first New Jedi Order book for many. “I took the Yuuzhan Vong from a standing start and looked at them through the eyes of folks who’d not seen them before,” he explains. “I wanted to make them scary and nasty, which is why the only time we see things from their point of view is at the end of Onslaught. I wanted readers to fear them before they begin to understand them.”

The new novel sheds more light on the unwholesome invaders. Readers will learn more of the Yuuzhan Vong societal structure, and their familial relations. “I think the readers would love to have a huge core-dump of data on the Vong,” says Stackpole, “but doling it out in little dribs and drabs is vital in such a project.

“The readers are learning about the Vong as the characters learn about the Vong,” the author says, “and the Vong and the characters are being changed by what they learn. This is going to be a long and involved dance, not a three-books-and-out series where we start looking for the next threat. In this case, the next threat will be the old threat, retooled, re-energized, and out for blood.”

In the pages of Ruin, one of the New Republic’s own surrenders himself to the Yuuzhan Vong, and is enveloped in a sadistic and alien world built on pain and suffering. Getting into such a destructively intolerant mindset requires an author to tread very carefully, says Stackpole. “Actually, it’s not that tough for me because I tend to read power flows in social situations. With the Vong, the key is understanding the source of power and how it flows.

“Shedao Shai embraces pain, and does not shy away from it,” Stackpole adds, “whereas his aides do not embrace it as openly as he does. He sees it as a duty, then, to inflict pain on them, physical, mental, emotional, however he can, to toughen and enlighten them.

“When you realize that they reach enlightenment and union with their gods through pain, that kind of calibrates the societal compass, and you plot your courses based on that,” explains Stackpole.

Whereas nay-sayers in the New Republic government were once skeptical of the Yuuzhan Vong threat, the massive Dantooine ground battle in Onslaught’s final chapters have shaken up the complacent. In Ruin, the Republic turns to former enemies as allies in an attempt to stem the tide. By tale’s end, no one can deny the Yuuzhan Vong menace.

Despite the encroaching darkness invading the books of The New Jedi Order, there is still room for levity. Stackpole has introduced the character of Chalco in Ruin, a shifty but bumbling grifter who accompanies Anakin Solo on an important mission.

“There’s always a need for balance in such novels,” says Stackpole. “Without the light, you can’t have dark. I also needed Chalco to put Anakin in touch with real life and real people, since he so seldom is. And, well, part of the magic of writing is just coming to a point in a scene where you need someone and you begin to realize there’s a role for this character further on in the book. Chalco was just such a guy.”

Among the warmer elements of the novel is the theme of family. Many of the central characters are related by blood or marriage. “I guess my experience with family gives me a point of departure, since I grew up in a decidedly normal household, no traumas, no upsets. I mean, the Cleavers lived down the block, and that nice Mr. Douglas and his three sons were on the next street over,” jokes Stackpole. “It was a very normal childhood in Vermont.”

Beyond the heroes, the theme of family continues even into the dark folds of Yuuzhan Vong culture, where it is revealed that lineage and ancestry are of prime importance to the seemingly heartless villains. “Much of the family loyalty and revering of ancestors came specifically out of my study of Samurai culture. There, the individual is subordinate to the family, which is something of an alien concept for Americans. It’s a great way to contrast that society with our own.”

Both books of the Dark Tide duology strongly feature Jedi characters, particularly Corran Horn and the Solo children. With the release of Episode I, authors are now given increased latitude in the depiction of Jedi characters. “I don’t think before we would have had a division in the Jedi or different philosophies,” explains Stackpole. “This means we have more to explore and play with, which just increases the depth of the universe. The Phantom Menace also provided us characters to contrast our Jedi with, and this is good as well. It allows readers to wonder how Obi-Wan or Qui-Gon might have handled the Yuuzhan Vong, or any particular situation.”

Much has been made of this being Stackpole’s last Star Wars novel for the time being. After having written eight novels, he is taking a break from the saga with a sense of satisfaction. That said, however, there are always possibilities in the future. Stackpole has long been involved with roleplaying fiction, and with a new Star Wars roleplaying game in the works, there is the chance he will contribute to the game.

“Star Wars, as always, is an ‘invitation-only’ venue,” explains Stackpole. “That said, Wizards of the Coast’s folks have been in touch. I’ve written an introduction for the game, and we’re talking about my doing some other things. It will depend upon my schedule and all, but I’m certainly open to doing work in the universe. Being able to participate with Star Wars on any level is just so cool, I’ll dismiss nothing out of hand.”

Ruin is scheduled for release June 6. Here is an excerpt from the book:

Chapter Ten

Corran Horn glanced up from his datapad. “Everything on the checklist is covered. I think we are ready to go.”

Admiral Kre’fey nodded slowly and escorted Corran across the Ralroost’s deck. The proximal docking bay had been cleared of starfighter, leaving a decrepit freighter as the sole occupant. “My engineers have assured me that the Lost Hope will be able to make it off the ship. How much longer it will hold together after that they will now say.”

“I understand, Admiral. We’ve all known this was a gamble from the star.” Corran sighed and slipped the datapad into a thigh pocket on his flight suit. “If it works, great. If it doesn’t, well, make sure others learn from our mistake.”

“Certainly.”

The problem of inserting a scouting team onto an enemy planet was one that had perplexed military strategists for ages. Ships often tried to slip in disguised as space debris, streaking toward a planet like a meteorite, then veering off under power once they were too low to the ground to be tracked. While the lack of an impact would tip the enemy to the fact that something was odd, the scout team could be well away from the area and safely gone to ground by the time investigators tried to puzzle out where they had gone.

With the Yuuzhan Vong, things got a bit more complicated because the New Republic wasn’t certain about the technical capabilities of their scanners. The fact that the Yuuzhan Vong used biologically based tools suggested severe limitations, but without actually knowing, there was no way to put together a sure plan to slip in unnoticed. Absent the ability to go in unseen, the New Republic decided to go for the other extreme and make sure the Yuuzhan Vong knew, beyond a shadow of a doubt, that their security had been penetrated.

Corran boarded the Lost Hope and retracted the gantry. He went up front to the bridge and waved at the admiral. He refrained from touching anything in there. Since the Yuuzhan Vong would undoubtedly investigate the crash, the New Republic knew they’d need trace biological matter in the ship to make the enemy believe the crew had not survived insertion into Garqi. Biomatter had been synthesized and sprayed around in all the logical locations, so any inquiry would have plenty of data to sort out in reconstructing the deceased crew of the Lost Hope.

He worked his way back to the main cargo hold and climbed into a much smaller ship, one of the tiny shuttle craft found on luxury liners. All six of the Noghri were jammed in the back and strapped in place. Ganner sat back with them, looking very large and uncomfortable since his feet rested on equipment and his knees were tucked under his chin. Corran slipped past Jacen and took his place in the forward of the two seats in the cockpit. He buckled on his restraining belts, then pulled on a helmet and opened a comm channel to the Ralroost.

“Lost Hope reporting in. Ready to go.”

“Copy, Hope. Two minutes to reversion.”

Corran initiated the start-up sequence. Both sublight engines came on-line, but the starboard one was producing only 75 percent of its usual power. “Jacen, can you see about bringing Hope’s starboard up at least another 10 percent?”

“As ordered.”

The older Jedi hit a button on his console and reports concerning the Lost Hope vanished, to be replaced by the monitors for Best Chance, the smaller shuttle craft contained within the freighter’s hold. Corran brought its engines on-line, and each reported 100 percent output. Repulsorlift coils reported operational. He hit a button that sealed Chance and made it spaceworthy.

“I’ve got Hope’s engines balanced.”

“Thanks, Jacen, The charges are set and functional?”

“Yes, ready to go on your command.”

“Good, we’re perfect.” Corran forced himself to smile. The plan was simple enough. The Lost Hope would leave the Ralroost and head down, then suffer a catastrophic engine failure. As it plunged into Garqi’s atmosphere, the ship would break apart. Debris would be strewn everywhere, and Best Chance would be able to fly away free. By the time the Yuuzhan Vong collected all of the Hope’s parts and figured out something was going on, the survey team would have returned to the New Republic.

The only Hutt spoiling the party was the lack of a hyperdrive on Best Chance. Without it, the only way the party could leave the system would be by rendezvousing with a larger ship, like the Ralroost. The lack of a hyperdrive made emergency extraction very tricky, but Corran knew that if they needed to get off Garqi in a hurry, they’d already be in enough trouble that there was no guarantee they’d ever get a chance to escape into hyperspace.

Corran flicked his comm unit over to address Ganner and the Noghri. “Get set for a wild ride. No guarantees on this one, but with any luck, we’ll all get out of it alive.”

Jaina’s X-wing shot free of the magnetic containment bubble over the Ralroost’s belly launch bay. She brought the fighter around on a heading that tucked it into the Rogue Squadron formation above Garqi. Anni Capstan, Jaina’s wingmate, designated Rogue Twelve, came up behind her, then Rogue Alpha, a recon X-wing piloted by General Antilles, completed the formation.

Colonel Gavin Darklighter’s voice came strong and steady through the comm channel. “Two flight, you’re on the snoop; One on my polar, Three below. Lock S-foils in attack position.”

Major Alinn Varth followed Gavin’s orders with a quick comment. “On me, Three. Tighten it up, Sticks.”

Jaina suppressed a smile. Because she was a Jedi and carried a lightsaber, and because she used a flight stick to control the X-wing, her compatriots had given her the call sign Sticks. She took it as a sign of acceptance, which was good, since she was a lot younger than the others in the squadron and didn’t have a fraction of their experience. They didn’t look down on her for those lacks. However, and had even bragged about her to some of the new recruits.

“As ordered, Nine.” She nudged the stick to port, bringing her into proper position in the formation. Jaina glanced back at the R2 unit riding behind her. “Sparky, pipe up if I slip out of formation again.”

The droid beeped an acknowledgment.

Colonel Celchu’s voice came through the comm channel. “Rogues, Flight Control here. We have ten skips coming up from Garqi. Intercept is plotted, being sent now.”

Data scrolled up on Jaina’s primary monitor, and Sparky tootled as he assimilated it. The skips–more properly, coral-skippers–were single-pilot fighter craft, similar in purpose to X-wings. But utterly dissimilar in design. Unlike X-wings, which were manufactured, skips were grown, forming a symbiotic union of various creatures that provided a hull, propulsion, navigation, and weapons for the stony ships. The pilot interfaced with the fighter through a hooded device that fed impressions to him and received his orders by reading his brain waves.

Jaina shivered. Her uncle had tried on one of the cognition hoods and experienced the contact with the alien fighter. She’d not been offered the opportunity to do the same, nor would she have taken it. Her experience as a Jedi built in her a dislike for anything trying to pick up stray thoughts, and having her head enclosed in a gelatinous membrane while that was going on was just not something she wanted to think about.

She looked at her monitors as the Lost Hope deployed from the Bothan Assault Cruiser’s belly bay. “Nine, I have two skips breaking off to go after Hope.”

“I copy, Sticks. You and Twelve are on them.”

Anni hit her comm unit’s talk switch twice, sending a double click through the channel in acknowledgement of the order. Jaina broke to port and pulled back on her stick, coming around in a tight turn. She inverted, then dived and cut to starboard to make her fist run at the skips.

“I have lead, Twelve.” Jaina flicked a thumb over her weapon-selection switch and linked her lasers for quad fire. She nudged the stick around and dropped the aiming reticle over the lead skip’s ovoid outline. She hit the fire-control button beneath her middle finger, starting the lasers through a fast cycle that spat out dozens of little red energy darts.

The scarlet bolts flew on target until ten meters from the skip, then they bent inward. The dovin basals that manipulated gravity fields to provide the skip with propulsion like-wise shielded it by creating gravitic anomalies. These little voids sucked the light in the like a black hole.

Jaina kept her fire steady, but let the targeting point shift up and back. To properly shield the skip, the dovin basil had to more the void, taxing its energy much as absorbing the bolts did. Finally a few stray bolts got past, scoring the black rock hull. Jaina then hit the primary trigger and sent a quartet of full-powered laser bolts into the skip.

A void picked one off, but the other three hit the skip’s aft hard. Yorik coral bubbled and evaporated in some spots, became fluidly molten in other. In the frigid vacuum of space, the mineral shell hardened almost immediately into an icicle trailing behind the Yuuzhan Vong fighter. The hot stone burned dovin basals and scorched neural tissue that allowed for control of the ship, sending the lead skip into a tight spiral that curled it back down toward Garqi.

The second skip proved to be more evasive. It juked and dove, cutting to port and starboard at random. Shots missed entirely instead of being absorbed by a dovin basal. The pilot had clearly learned that agility in space combat was worth as much or more than shielding. He used his skills as a pilot to avoid the X-wings and to draw ever closer to his target

“Cover me, Sticks.”

“Got it, Twelve.”

Anni Capstan’s X-wing cruised forward and broke hard to port, bringing it in on a slashing attack at the skip’s starboard aft quarter. She sprayed laser darts all over the ship, using her etheric rudder to keep the fire on target, and the Yuuzhan Vong pilot finally had to deploy a void to keep her shots off him. She cut loose with a full quad shot, but the void sucked all four of those bolts in, then the skip bounced up above Anni’s line of flight

Jaina saw the nose of Anni’s fighter come up and wondered for a second why she hadn’t fired another burst. It occurred to her that Anni’s lasers might be recharging, since she had sprayed a lot of energy around to little effect. The skip boosted forward, pulling away form the X-wing, and Jaina thought Anni would lose him since he could now use the dovin basal that had been shielding him to provide more propulsion.

Then fire blossomed on either side of the X-wing’s slender nose.

Throughout the time snubfighters had engaged in combat, a debate had raged over the efficacy of employing proton torpedoes against other starfighters. There was no doubting that the missiles would obliterate a starfighter. The weapons were designed for damaging much larger ships. To use them against a snubfighter was the equivalent of using a vibro-ax to kill an insect–gross overkill

Then again, in combat, can overkill ever be gross?

Jaina couldn’t be sure if the Yuuzhan Vong pilot realized that Anni had waited for him to pick up speed before she fired, or if he died assuming she had just gotten lucky. He did try to deploy another void, but it was late in materializing and only slightly altered the course of the second torpedo. The first one flew straight and true, slamming into the skip’s belly. It detonated in a burst of argent fire that fed up through the fighter like lightning. The fragmenting coralskipper disintegrated before her eyes, with the second torpedo flying through the heart of the blast and detonating a hundred meters beyond it.

“Great shot, Twelve.” Jaina smiled as she looked up at the Lost Hope. She could feel her brother on board. You’re safe now, Jacen.

Then a terrible explosion ripped apart the freighter’s port side, and the stricken ship started falling toward Garqi.

Hitting Jacen harder than the jolt from the explosion was Jaina’s shocked anguish. He’d tried to steel himself for it, having anticipated it, but the grief and sense of loss rolled through the Force all raw and jagged. He wanted to reach out to her, through the Force, and tell her all was well, but he could not.

Instead he pulled himself in, shutting down his presence in the Force. He’d not liked having to deceive his sister about how the Lost Hope would be used to get them onto Garqi, but fooling her had been necessary. No one knew how much the Yuuzhan Vong could read in terms of communications or emotions. Just because we are blind to them through the Force, we’ve no call to assume they are blind to us, too. Only by having the people on the ship and in the fighters think their freighter was going down could they be sure the emotions and communicants would be genuine.

“Jacen, my screen is showing a faulty linkage at J-14 is broken and has released prematurely. J-13 and J-15 are still holding, but pressure is beyond spec already.”

“Sith spit.” Corran turned in his chair enough to glance back at Jacen. “Get the secondary charges ready to go. blow them in sequence two on my mark. Be sharp. Can’t be worrying about your sister right now.”

“Yes, sir.” Jacen brought up the pattern diagram of the sequence two explosions. Six of the eight charges glowed green, but two others showed red. The two nearest J-14. “We have a problem, Corran. The charges near J-14 are bad.”

“Got it.”

Jacen looked past the pilot’s head and at the holographic feed occupying the area of Best Chance’s forward viewpoint.

The feed came from holocams mounted on the Hope’s hull, allowing the pilot to see what things looked like as the doomed freighter hurtled at the planet. The freighter was just beginning to hit the edge of the planet’s atmosphere. Little pieces of the hull began to glow from the friction, with scraps of paint ablating off as sparks.

Corran keyed a comlink. “Ganner, look out the starboard viewport. Can you see the two charges there on the stanchion? They’re blinking red.”

“I see them.”

“Can you use the Force to compress the det-chargers to the point of exploding?”

“Never done it before.”

“Well, we have to do it now. If you can’t get both, just focus on the upper one. On my signal.”

“I copy.”

“Jacen, get ready. Once his goes, you blow yours.”

“As ordered.”

The freighter bucked as the atmosphere became denser. Corran’s hand danced over the command console. He fed power into the repulsorlift coils, which slightly insulated the ship from the tremors wracking the Hope. The Chance shimmied a bit, and stresses mounted on some of the other connectors holding the two ships together, but nothing else released.

The freighter started to turn to port as the jagged hull there began to drag in the atmosphere. Corran fought it and tried to get the ship oriented on a simple flight path, then hit a switch that cut the power on the Hope’s engines. The whole craft lurched, then twisted as the atmosphere battered it.

“Everyone stand by. This won’t be fun or pretty.” Corran hit some switches on his console. “Ganner, blow the charges, now!”

The Force gathered behind Jacen and focused itself on the explosives. The first one blew easily and vanished from Jacen’s screen. Without waiting for the second, the young Jedi hit a button on his console, lighting off the other explosives in a rippling sequence that shattered the aft hull.

Corran hit a switch, and the connectors holding Best Chance inside Lost Hope all released. The smaller ship tumbled free of the shell that had had brought it into the atmosphere. Corran made no attempt to direct its flight or stabilize it, he just let it twist like any other piece of debris. As the ship came around, Jacen managed to look through the viewports and catch a glimpse of the Hope’s fiery descent to Garqi.

The altimeter built into Jacen’s console scrolled off the meters to the planet’s surface dizzyingly fast. Six kilometers shrank swiftly to four, then three and two. Jacen recalled a single klick being their margin of safety and sought any sense of anxiety from Corran as the small ship plunged past that barrier.

He got none, which brought a smile to his face. He could easily imagine his father sitting in the pilot’s chair, waiting and waiting to bring the ship to full power, pushing safety margins that he considered overly generous. Jacen didn’t necessarily think this willingness to undertake risks was part and parcel of being a Corellian as much as it was an artifact of the Rebellion. Pilots then had had to do outrageous things to win the freedom of everyone in the galaxy. For them, prudence gave way to efficacy.

Five hundred and seven meters above Garqi’s rain forest–covered surface, Corran boosted full power to the repulsorlift coils. This marginally slowed their descent but didn’t prevent the ship from plunging into the trees, shearing off limbs, splintering wood, and scatterin a colorful cloud of birds. The Best Chance crashed down through the upper canopy and through the midlevel before the repulsorlift coils met enough resistance in the planet’s mass to bounce the Chance back up.

Corran let the small ship hand there in the air as the purple leaves and gnarled branches strewn over the forward viewport began to shrivel and smolder against the hot hull. “Everyone okay?”

“I’m good.” Jacen glanced back at the others as they all reported in unharmed.

The small ship’s comm speakers crackled. “This is Flight Command Ralroost recalling all fighters. Evac countdown has commenced.”

“Rogue Eleven here. We have a freighter down.”

“We’re aware of that , Eleven. This hip broke up. No life signs.”

Jacen felt a shiver run down this spine. Jaina’s X-wing’s sensors would be too weak to pick up life signs at this great a range, so she had to believe he was dead. Just for a heartbeat he wanted to open himself up in the Force so she’d know he lived, but he stopped himself.

Corran turned and nodded to him. “I know it’s tough, Jacen, but she’ll be told the truth once the ‘Roost pulls out.”

Jacen shook his head. “I don’t think I’ve ever done anything like that to her before–to anyone before.”

“It would be great if you never had to do it again, either, but there are times when a little cruelty now saves more a lot later. It’s an unfortunate part of growing up.” Corran gave him a smile.

“I copy.” Jacen hit a button on his console and punched up a specific frequency. “I have a locator beacon on our contact frequency. Heading two-one-nine.”

Corran ruddered the ship around on that heading and fed power to the engines. The small ship began to move forward sliding through the forest. The branches scraped along the hull, and furry anthropoids scurried away in terror. The ship moved on, letting the purple world of Garqui swallow it and, hopefully, hide them and their mission from the Yuuzhan Vong.

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 2022-08-11 16:00:45.

Star Wars – Aliens

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Star Wars – Aliens

Admiral Ackbar
Mon Calamari commander of the Rebel Fleet

As commander of the Rebel Fleet, Ackbar has one of the most important and demanding jobs in the Alliance. The fleet is the Rebellion’s most valuable asset and its most important tool to challenge the overwhelming might of the Empire. Admiral Ackbar was the natural choice for fleet commander.

Beyond the qualifications of his great skills and sterling character, Ackbar is a symbol to the rest of the galaxy: a symbol that the Alliance is fighting for everyone, no matter what their background or origin. The Empire, in contrast, has made discrimination against non-humans a longstanding policy.

Ackbar proved his competence while commanding the Shantipole project, which added the valuable B-wing fighter to the Alliance’s arsenal. He was also extremely influential on his home planet and was largely responsible for that planet’s decision to supply their precious Mon Calamari Cruisers, the cornerstones and largest vessels of the Rebel Fleet.

Although widely recognized as a fine tactician, it is his organizational and administrative abilities that make Ackbar an outstanding leader. He is known for being rather conservative in battle strategy, but this aspect of his personality is counterbalanced within the fleet’s command structure by the innovative impetuosity of his young officers and the aggressive nature of General Madine.

A case in point is the Battle of Endor. When the Death Star surprisingly went operational and began systematically destroying the Rebel Fleet’s most powerful vessels, Ackbar’s first instinct was to call off the attack. But Lando Calrissian pleaded with him to continue by engaging the Imperial Star Destroyers, in the hope that the Death Star wouldn’t be able to open up on them without hitting Imperial ships.

For all of his conservatism, Ackbar saw the logic in Calrissian’ radical plan and acted accordingly. The gamble paid off.

The battle over Endor proved to everyone that Mon Mothma’s choice for command of the fleet was perfect. It was the Alliance’s shining moment, and Ackbar deserves much of the credit.

Chewbacca
Han Solo’s 200-year-old Wookiee copilot

Strong, fearless, and an able pilot and mechanic, Chewbacca the Wookiee makes a capable ally to his friends and to the Rebel Alliance. A loyal friend to Corellian smuggler Han Solo, Chewbacca is his co-pilot when Luke Skywalker, Obi-Wan Kenobi, and two droids come aboard the Millennium Falcon for a fateful trip to Alderaan.

Chewbacca is a key part of the rescue plan for Princess Leia, acting as an ‘alien prisoner,’ allowing Han and Luke to infiltrate Detention Block AA-23 of the Death Star. It is also Chewie who persuades Han to go back to help Luke during his critical attack run on the Death Star’s fatal exhaust port.

It is later, during the events on Bespin that perhaps the greatest change takes place in Chewbacca. Roaring in rage as the Imperials began to lower Han into the carbon-freeze chamber, the Wookiee lashes out at the stormtroopers. It is Han himself who calms his friend and ends the berserker rage.

“Save your strength,” Solo calls out. “There’ll be another time. The Princess. You have to take care of her.”

It is then that Chewbacca realizes there is more to his honor family than just Han Solo. With Lando Calrissian in tow, Chewbacca and the Millennium Falcon return to Tatooine to await Luke Skywalker, firmly believing that together they can save Han from Jabba the Hutt.

His faith and belief in his friends continues throughout the war. Whether he is cramped inside a ship designed for beings much smaller than Wookiees, tied to a stake and at the mercy of the Ewoks, or battling a legion of the Empire’s best troops, Chewbacca remains confident that he and his comrades will eventually triumph.

Ewoks
Small tribal inhabitants of the forest moon of Endor

Only about one meter tall, the straightforward, even simple two-legged beings known as Ewoks are the antithesis of a high-technology culture. They are tribal and still use bows and arrows, slingshots and catapults as primary weapons. But through intense teamwork, and with a keen understanding of their environment and how to work with it to their best advantage, Ewoks have acumen and skills that cannot be replaced by high technology.

Ewok language is liquid and expressive, and not that difficult to speak for other species. Most tribe members are hunters and gatherers who live in clustered villages built high in hardy and long-living conifer trees, or life-trees. Ewok religion is centered around these giant trees, which legends refer to as guardian spirits. Each village plants a new seedling for each Ewok baby born, then nurtures it as it grows. Throughout their lives, each Ewok is linked to his or her “totem tree,” and when they die, Ewoks believe that their spirits go to live in their totem trees. Ewoks believe that their village shamans can communicate with the oldest and wisest trees in time of crisis.

From a life-tree’s bark, Ewoks distill a natural insect repellent. From fallen trees they make weapons, clothing, furniture and cooking implements. During the day, Ewoks descend from their high huts to hunt and forage on the forest floor. At night, they leave the forest to huge carnivores. Ewoks are curious and frequently get into trouble by being too nosy. They also love to hear and tell stories and are very musical, especially enjoying communal singing and dancing. And they are inventive, using natural materials to build everything from water-wheels to flying wings.

Jawas
Hooded scavengers of the Tatooine deserts

Intelligent but smelly scavengers of the desert, these rodent-like creatures are natives of Tatooine. About a meter tall and constantly jabbering in their own language, Jawas live in clans.

To protect themselves from the fierce double suns of their planet, they wear coarse, homespun cloaks with hoods; only their glowing eyes are visible.

 

Jawas travel and live in bands, using giant, treaded sandcrawlers for mobility and shelter. The crawlers can hold many dozens of Jawas as well as the droids and other machinery that they scavenge, repair and resell to Tatooine moisture farmers and others. Once each year before the storm season, Jawas make a trek to the great basin of the Dune Sea for a huge, secret rendezvous that becomes a great swap meet where they exchange news and salvaged items.

Jabba the Hutt
Grotesque and powerful criminal underlord

One of the galaxy’s top criminal underlords, Jabba the Hutt has been in charge of a major criminal empire since he was about 600 years old. He moved to Tatooine and established himself at a palace built around the ancient monastery of B’ommar monks. Its centerpiece is a huge throne room where Jabba constantly entertains and holds court from his high dais at one end of the room.

Jabba’s criminal empire knows no bounds. It includes smuggling, glitterstim spice dealing, slave trading, assassination, loan sharking, protection and piracy. One smuggler on his payroll is the Corellian Han Solo and his Wookiee first mate Chewbacca. But after Solo has to jettison a spice load to avoid Imperial entanglements, Jabba orders him brought in. It takes a few years, but bounty hunter Boba Fett eventually delivers Solo entombed in carbonite. Solo’s friends come to rescue him, and Luke Skywalker directly confronts the Hutt, who drops him into a pit to be eaten by Jabba’s pet rancor.

When Skywalker instead kills the rancor, an enraged Jabba orders all the Rebels to be taken to the desert and fed to the Sarlacc monster. But Jabba pays the supreme price for underestimating Skywalker, Princess Leia Organa and their friends.

Sand People
Savage nomads of the Tatooine wastes

 

A nomadic and often violent species, the Sand People of the planet Tatooine are as fierce and savage as their harsh desert environment. Also known as Tusken Raiders, even their appearance – born of necessity – lends them an air of menace. Wrapped in gauzy robes and strips of cloth from head to foot, their faces are concealed with breathing masks and goggles to protect their eyes. The frightening visage of a bandit Tusken Raider can terrorize as easily as their weapons.

The Sand People are easily intoxicated by sugar water and are most dangerous during their adolescent years, when they must survive rigorous rites of passage–such as hunting krayt dragons–to become adults. Since there is no written Tusken language, the storyteller-historian is the most respected member of Tusken communities. Many Tusken Raider clans of 20 to 30 individuals return annually to their traditional encampments in the Needles, a section of the Jundland Wastes, to wait out the dangerous sandstorm season.

The Sand People have an almost symbiotic relationship with their bantha mounts. A member who has lost his bantha is considered incomplete, and an outcast among his people. Likewise, when a Raider dies, his mount engages in a usually suicidal frenzy and is turned loose in the desert to survive or die on its own.

Tuskens live in an uneasy, and frequently shattered, peace with Tatooine moisture farmers. They attack settlements from time to time, using their traditional weapon, the gaderffii (or “gaffi”) stick, a kind of double-edged ax, or older projectile rifles. Targets of opportunity also include individuals or small parties roaming the desert, such as Jawa scavenging parties.

Wicket
A curious and resourceful young Ewok

 

This young Ewok helps the Rebel forces during the monumental Battle of Endor. Wicket W. Warrick is the youngest son of Ewoks Shodu and Deej. Wicket has always shown a greater-than-usual curiosity to explore the unknown.

When Imperials first come to Endor, the Ewoks are alarmed. Many want to declare war on them, but the Ewok leader, Chief Chirpa, reminds them that their spears couldn’t hurt the Imperial fortresses, and that the invaders have machines that can fly through the air or burn the forests. But one night, as the villagers gather around the fires, young Wicket recounts how he had witnessed an AT-ST “walker” stumble on the rocks, fall, and explode. So the Ewoks do have a way to fight back, and they start preparing for battle.

While on a foraging expedition, Wicket comes across an unconscious Princess Leia Organa, who has been thrown off a speeder bike during a chase with Biker Scouts. Although she initially spooks him, Wicket senses her innate goodness. He returns with her to the village, only to find that Leia’s companions have been captured in an Ewok hunting net.

Even though Wicket pleads their case to Chief Chirpa, it takes some Jedi tricks from Luke Skywalker to free the rebels. Wicket then is a major factor in convincing the tribe to help the Rebels try to blow up the shield generator protecting the second Death Star.

Yoda
Wise master of the Force and teacher of Jedi

A long-lived Jedi Master, Yoda is the conduit for the rebirth of the nearly-vanished Jedi Knights. For more than 800 years, the diminutive green being has trained Jedi Knights in the ways of the Force, but rarely has he faced such a challenge as the impetuous young Luke Skywalker.

By the time Luke encounters him in the bogs of Dagobah, Yoda is nearly 900 years old and walks stooped over with the help of a gimer stick. He subsists on things that nature offer him, eating plants and fruits and fungi, and building his home of mud, sticks and stones.

 

Yoda’s path to Jedi wisdom seems simple, yet profound. He makes his students unlearn what they had been taught, helping them to tune in to the subtle world around them to learn its truths. “A Jedi uses the Force for knowledge. Never for attack,” he tells them.

When Emperor Palpatine ordered his purge of the Jedi, Yoda went into hiding on Dagobah. He uses the Force and the planet’s own natural defenses to discourage visitors. But he has kept watch on Luke Skywalker and Leia Organa. After escaping almost certain death from a wampa ice creature on Hoth, Luke sees Ben Kenobi in a vision, telling him to go to the Dagobah system to continue his Jedi training with Yoda.

Yoda lectures young Skywalker about the Force while Luke performs rigorous physical and mental exercises. Yoda especially cautions him against the easy path of anger and the lure of the dark side of the Force.

When ordered to undertake a particularly daunting task, Luke says he’ll try. “No! Try not,” Yoda says. “Do. Or do not. There is no try.” Despite Yoda’s plea, Luke leaves before his training is complete when he senses that his friends are in danger. By the time Luke returns, Yoda is close to becoming one with the Force.

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 2023-01-20 22:54:03.

Widescreen vs. Full Screen

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(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Widescreen vs. Full Screen

Choosing a Format

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.

Star Wars | Episode IV: A New Hope

Star Wars – Episode IV: A New Hope

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.

Sources:

Wookieepedia
Read Star Wars
Jedi Temple Archives
Yoda’s Datapad
Youtini

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.

The Circle is Now Complete: Classic Marvel Talents

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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.

Misc PDF’s | The Empire Strikes Back – Posters #3

Welcome to Misc PDF’s. A collection of PDF files from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

The Empire Strikes Back – Posters #3

Click on the image to download the PDF.

Enjoy!

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.

The Book of Boba Fett | Gallery

Welcome to the Star Wars Gallery.  A collection of some great images from The Book of Boba Fett available exclusively on Disney+.

Below you will find a Gallery of images, the which includes Artwork, Episode Stills, Concepts Storyboards etc.

I hope you enjoy them.

Check out The Book of Boba Fett article

[foogallery id=”230083″]

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.

  1. 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.

  2. 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.

  3. 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.

  4. 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.

  5. 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.

Ask the Jedi Council Archives – 2004

Welcome to the Ask the Lucasfilm Jedi Council Archives. A feature of Star Wars. Com, no longer active. This is not a complete archive but have salvaged what I can.

January 2004

Q : Will there ever be an Episode II Insider’s Guide?

Steve Sansweet: I assume you’re talking about the great CD-ROMs that LucasArts did for both the classic trilogy (Star Wars: Behind the Magic) and the first prequel (Star Wars: Episode I Insider’s Guide). Both were chock full with exclusive interviews, rare footage, encyclopedia-like coverage, scene guides, still images, trivia, a look at characters, vehicles, the making of the films…and much, much more.

But basically two things have happened. First, the market has clearly moved away from such CD-ROMs; in fact, it had pretty much collapsed just as the Episode I Insider’s Guide was starting to ship. And that’s because the kinds of material that would be included on such CD-ROMs can be better placed on more interactive and updateable websites and richer DVDs — which is exactly what Lucasfilm did for Episode II.

Q : Why does there appear to be statues of horses in the scene where Jar Jar and his people are entering the city after defeating the droid army? Horses were never seen on any of the fantasy planets.

Jocasta Nu: Those are not horses. They are in fact statues of guarlaras, royal riding animals used only by the monarchy. The galaxy contains a number of species similar to the mundane equines you are familiar with. The forest moon of Endor has several such species, including bordoks and gaupas.

Q : Is that you in the tank in Indiana Jones and the Last Crusade?

Nick Gillard: Good eye. It most certainly is.

Q : What do you think are the chances of MGM’s Star Tours expanding or for Mr. Lucas to build a Star Wars theme park?

Steve Sansweet: As long ago as 1984, Lucasfilm and the Walt Disney Co. began exploring the possibilities of theme park attractions based on the Star Wars and Indiana Jones movies. One early idea was an entire area at Disneyland with seven rides based on those films. Eventually, in 1987, Star Tours opened in Disneyland, and later in Disney parks in Orlando, Tokyo and Paris. Indiana Jones attractions followed. We continue to believe that the Disney environment is an excellent one for attractions based on Lucasfilm movies, and we are always looking at ways to either freshen or, if it makes sense, expand that presence.

Q : Stupid question but what are humans called in the Star Wars universe?

Jocasta Nu: Humans are simply identified as humans — notice when C-3PO remarks that Luke Skywalker is quite clever for a human being, or when Han Solo ironically calls Jabba the Hutt a wonderful human. The Podracer announcers also identify Anakin Skywalker as a human. Your confusion may stem from there not being a homeworld identified in the species name, but that is not uncommon. The species name “Wookiee,” for instance makes no reference to Kashyyyk.

The origins of humanity in this galaxy have been lost to time. There are several worlds that lay claim to the prehistoric birthplace of the human species — and in ancient times, wars were fought over such claims — but the truth remains a mystery. As such, many humans tend to refer to themselves with names that identify particular cultures or homeworld: for example, Corellians and Alderaanians.

Q : I saw your name when I was watching the BBC hit “Red Dwarf.” What was it like and how did Mr. Charles’ skills match to Star Wars?

Nick Gillard: Working on “Red Dwarf” was a lot of fun! I think Mr. Charles would make a good Sith.

Q : I’ve seen Star Wars wall art that is made up of small movie picture frames cut up to make an image. What are these type of pictures called and where can I buy them?

Steve Sansweet: There were two fantastic Star Wars images done by Robert Silvers, the creator of Photomosaics, a technology he invented at the age of 26 while a student at the MIT Media Lab. According to his company’s web site, Silvers’ proprietary software “expertly considers minute details in hundreds of individual images to create a beautiful mosaic arrangement.” A Photomosaic works by arranging hundreds or thousands of tiny photographs that, when viewed from a distance, combine to form a single larger image. In this case, many frames of film from the classic Star Wars trilogy created portraits of Darth Vader and of Yoda. Both are included in Silvers’ first book, “Photomosaics” (Henry Holt & Co., $12 soft cover). The Photomosaics were also printed as posters by Lucasfilm licensee Portal Publications in 1997, and are still available in some poster shops or at online sites.

February 2004

Q : In Episode V, Yoda acts like an idiot when Luke was visiting him. Yoda acted like he has never seen technology before. What happened to him? Did the swamp make him crazy?

Jocasta Nu: Yoda was hiding his identity and testing Luke’s patience and intentions. His behavior before revealing his true name and status as a Jedi Master is an act. You’ll note that once Luke realizes that it is in fact Yoda the Jedi Master, Yoda does not behave in this odd way.

Q : I heard that Natalie Portman is terrified of heights. Did she do the whole pole/nexu/chain thing in Episode II herself?

Nick Gillard: Yes Natalie did stand on the pole. She also jumped from it. I had to show her how to do it and I think I was more frightened than she was.

Q : How many bones have you broken?

Nick Gillard: Not as many as the hearts I have broken.

March 2004

Q : Why is Endor called the “centurian” moon?

Jocasta Nu: Your ears deceive you, young Padawan. The term used is “Sanctuary Moon,” which describes Endor’s role in generating the protective shield around a vulnerable second Death Star.

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 2022-06-14 18:58:27.

Colouring Clones

Welcome to Colour Me Star Wars.. A collection of articles from the archives of *starwars.com no longer directly available, in which there are a variety of PDF Files for you to download, print off and colour in.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Colouring Clones

Here’s a great PDF to print off and colour in. If the PDF doesn’t work, please click HERE to download it.

Click on the image to download.

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 2023-11-04 13:54:05.

Holiday Special: Lumpy Speaks

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Holiday Special: Lumpy Speaks

Patty Maloney, Lumpawarrump (“Lumpy”)

Patty Maloney is the only member of the Wookiee family still involved with acting [Peter Mayhew has since recounted his role as Chewbacca in Episode III after this interview was conducted]: Mickey Morton, who played Chewbacca’s wife Mallatobuck (a.k.a. Malla), passed away in early 1998. “He was the sweetest man,” remembers make-up effects artist Stan Winston. “He had a good sense of humor” [read more from Stan Winston below]. Paul Gale as Attichitcuk (“Itchy”), Lumpy’s

350-plus-year-old grandfather, has retired from acting. “He was just like being with family,” recalls Patty Maloney. “He was so much fun to work with. Paul had worked for Sid & Marty Kroft. That’s were I first met him. He played Hoo Doo on the road show that we did of Pufnstuf and was in Sigmund and the Sea Monsters.”

Maloney has been obsessed with acting since a very young age. “When I was about four years old my mother put me into dancing school and, the minute I walked out onto that floor and looked into the mirror, I went ‘(gasp!) This is it! This is what I want to do!’ I was really, really tiny and I even didn’t know that I was never going to grow any taller, so my dream was that I was going to be a chorus girl on Broadway. I studied dance from then on. That was my life. I would go right from school to dance classes. When the last class was over I went home and slept and got up the next day and did it all over again. I did this five days a week, and on Saturdays I was in dance class all day long. I loved it.”

She has had an extremely fruitful career, having worked on countless ’70s sitcoms and shows such as Charlie’s  Angels and the original Love Boat. “When I came to Cailfornia in 1972 with $500 in my pocket, I figured ‘When that’s gone, I’ll return home to Orlando, Florida. I never left because I never stopped working.” Maloney has played many costumed characters besides Lumpy, including McDonald’s Early Bird, Goofy Gopher, and Bonita Bizarre for a travelling Sid & Marty Krofft show, and Piglet on Disney’s Welcome to Pooh Corner. More recently [in 1998], Maloney was in an episode of Star Trek: Voyager. “I had a great time in that. It was an episode called ‘The Thaw’. There wasn’t a mask on my face. It was all done with make-up. We were aliens that invaded the crews’ minds.” When she reflects on her career, Maloney cannot single out a favorite project. “I can’t think of anything that I haven’t liked doing.”

FAX: Do you remember auditioning for the role of Lumpy?

MALONEY: Oh, I sure do. I probably auditioned with ten other people, I was the only female that I’m aware of that auditioned for the part. I was surprised, being a female, that I got it but I was thrilled with it. I just loved doing Lumpy.

FAX: What was it like working with the cast of Star Wars?

MALONEY: I thought it was great! It was like icing on a cake to be able to work with those people. Harrison Ford was just the most wonderful person to work with. He was so nice to me. While we were shooting the scene where Han and Chewie arrive at the Wookiee planet, he had a line were he had to say “My he’s grown, hasn’t he?” and he’dsay. “My she’s grown, hasn’t she?” (laughter) And they say, “Cut! Harrison, Lumpy’s a boy,” and he would say, “Oh yeah, that’s right. Let’s do that again.” And in the next take he said “My she’s grown, hasn’t she?” They would go “Cut! Harrison!” He would go “Oh, I know, but I can’t look at her when she doesn’t have this mask on, and think of her as a boy when she gets into this thing.” He was wonderful, and everyone else was great.

We had Ben Burtt, the man who does the sound effects for Star Wars. He came into the dressing room one day and he had me do a tape of my voice, and then he engineered it to all different sounds: high, low, fast, and slow. He sent me a tape that was incredible, just so that I could hear what you could do, engineering voices. He was so fascinated with my voice that he wanted it just for his own.

FAX: How would you describe Lumpy?

MALONEY: Lumpy was like an impish little boy that was rebellious. Very active and curious about everything. If his mother said “Take out the garbage” he would reply “I don’t want to do that now! I’m too busy doing something else.” He loved his grandfather and adored his father, which was obvious when Chewbacca came home. He was just an inquisitive, active, and happy Wookiee. He was not really afraid of the stormtroopers, but a little timid of them when they would get upset with him.

FAX: You obviously had to convey a lot of information with mime, since the first half-hour of the show involved the Wookiees who don’t speak English.

MALONEY: Exactly. Well they had a Wookiee language, and we even went to a class to listen to it on tapes to educate us on what their language was like, and if we heard a particular sound, we knew what it meant to us. But it was basically doing mime. The feelings had to come from the whole body in order to get across sorrow and happiness. It was just a wonderful experience.

A lot of the scenes — such as where I’m at the holographic chess table watching alien acrobats — were done where I couldn’t see any of it. It wasn’t there in front of me at all. The director would say, “They’re swinging up to your right,” and I would look up, or he would say, “They’re finished so you can applaud” and I would clap. It was all done by being spoken to, not by any visual references, which was really interesting to do because it’s hard to do that. When I saw it all put together I went “Whew! That’s amazing!”

FAX: Lumpy, Malla and Itchy’s faces were more expressive than Chewbacca’s. Also, Lumpy’s eyes conveyed a lot of expressions.

MALONEY: Yes. The only part of me that you saw were my eyes, and the area around them was painted black. So the expression that I had to give came out of my eyes. It was a new experience because they had just started doing electronic faces. Stan Winston had made the mask for me. I had wires that went down my arms with little rings on my fingers that I could pull and make the nose twitch, make the lips curl up and smile a little bit and open up the mouth alittle bit so the teeth would show. Chewbacca, on the other hand, was more solid. I don’t think he had that kind of movement in his face. It was really fascinating to do it. When they wanted to do a tight close-up. and I had to use my hands to pick up props or something, Stan Winston would sit behind me and work the strings for me.

There were so many things to be done simultaneously in the close-ups. In the long shots, I had to control the cables myself because he couldn’t follow me around.

FAX: It must have been difficult operating your facial expressions with your hands, and doing body gestures simultaneously.

MALONEY: Yes, but it was just a matter of coordination. I thought of it as a dance routine: you get a rhythm going and you almost count it. I almost felt the music without the music being there.

FAX: What were your favorite sets?

MALONEY: I particularly liked Lumpy’s bedroom, which was supposed to be upstairs. It was like going up into a tree. I loved all the toys that they put in there for Lumpy. The scene that I liked the most was when Lumpy went upstairs and found that the troopers had destroyed his toys and pulled the head off the Bantha and how sad it was that his favorite toy had been destroyed.

FAX: How long did the filming last?

MALONEY: I think it was about ten days. We worked very hard and we worked very long hours. Sometimes we would work until two or three in the morning but we just laughed and had fun. It was hot being in that costume but everybody was so wonderful to work with that I forgot about it. One of the most wonderful things was that when I finished the show they sent me a bonus, which you hardly ever get in this business. They also had a director’s chair delivered to my house with the name Lumpy on one side and my name on the other. Smith-Hemion, the producers, did the Emmy Awards for a long time and they’re a wonderful production company.

Read on for some comments by make-up effects artist Stan Winston…

Stan Winston, Wookiee Make-up

By Ross Plesset

One of the most impressive achievements in The “Star Wars Holiday Special” was the creature make-up. Stan Winston created Chewbacca’s family using leading-edge technology. (Winston was not involved in all of the special effects make-up for the show. According to Miki Herman, Don Post Chewbacca masks were used for the Wookiee crowd scene at the climax. For the recreation of the famous Star Wars cantina, Lucasfilm provided the original masks while Rick Baker and crew provided some new characters).

Several people had input into the Wookiee’s design. Many of their characteristics can be attributed to Ralph McQuarrie. “I drew an old Wookiee getting up out of his chair and several females and children,” he says. Stan Winston and his colleagues also contributed to the designs. Recalls Tom Burman: “I helped [Stan] with some ideas for the hair on the Wookiees’ bodies and my brother Ellis Burman worked with him on the mechanical faces.”

Winston describes his work on the show, which he considers a pivotal point in his career:

“It was quite an opportunity for me. I was able to use a Stuart Freeborn concept, which was very in inspirational to me and my whole career, as a spring board to advance the technology in the direction of where we are today. Stuart had developed the lip articulation for the apes in 2001 and then had created Chewbacca for Star Wars. For the “Holiday Special” they had to have this family of Wookiees and, to my good fortune, Stuart wasn’t available. I had done some lip articulation on The Wiz with the flying monkeys, and this was a chance to take it a step further. The production company sent me the original Chewbacca head so I was able to look at it and see how Stuart had originally done it. I used that as my inspiration to take it to another level, where I could put some expressions into the faces besides having the mouths open and pull back. It allowed me to move into the animatronic face phase of my career.”

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 2022-10-10 16:00:31.

Drawing a Tauntaun

Welcome to a look inside The Holocron – draw STar waRS. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Drawing a Tauntaun

Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga.

Creator of the comic Mouse Guard, artist David Petersen explains with these easy-to-follow steps how to draw a tauntaun.

For his drawing, David Petersen used:

  • a 0.5 mechanical pencil with HB lead
  • a variety of erasers (white, kneaded, and click)
  • a SAKURA Pigma Sensei ink pen
  • Strathmore Bristol

“However, as an artist, you should always find the materials you enjoy and feel most comfortable with,” Petersen says. “You can do just as nice of a drawing with a traditional wooden pencil or a ballpoint pen as you can with expensive art supplies.”

Steps 1-4 are drawn lightly with pencil. No pen, no dark lines. Finished lines and details will come at the end.

Step One:
Start with the tauntaun’s spine line. I started with this rough “S” shape so that I know my drawing is going to fit on my paper.

Step Two:
By using rough and simple shapes like these ovals and circles, I can start filling out the body, head and snout of the tauntaun.

Step Three:
Make a line across where the shoulders will be and add little circles for where the shoulder joint will go. Another oval shape gets added for the start tauntaun’s big leg.

Step Four:
Tauntauns have little T-Rex like arms, so starting at the shoulder joint, add lines to show where the arms and hands go. Add the bottom of the leg facing you. Don’t worry about the back leg yet, we will get to that later. Tauntaun legs have a knee joint that bends backward from what we humans have.

Step Five:
Now it’s time to start filling out the body shape. Add the lines for the tauntaun’s outer neck, belly, leg and tail. Don’t forget the little spade shape on the end of the tail.

Step Six:
The same way we filled out the body in Step 5, we do the same for the arms in Step 6. Three little ball shapes at the bottom of the foot will form the toes. On the head, add two little ovals for the ears, draw in the line for the mouth, and add the horns. The horns are a little tricky, but they are basically shaped like a crescent moon that lost its tip.

Step Seven:
Using circle shapes, make guides for where the nostrils will go (tauntauns have two pair) and where the brow ridges are. There are a lot of steps here about placing where things go. If you jumped right in to drawing features, you might find that one eye is higher than the other is or they are spread too far apart. That is why these simple shapes help you see if the placement is right. If you don’t think you have it right, just give a quick rub of the eraser and try again!

Step Eight:
Add the first set of nostrils and make two almond-shaped circles where the eyes will go. Tauntauns have some little horn bumps that protrude from their skin. I added little nubby shapes where I want mine to go on the forehead and cheek.

Step Nine:
The second set of nostrils gets added under the first set. Start working on details like the ridges on the horns, the fold around the nose and cheeks and the mouth. Add furry lines on the body (something that I’ll do a lot more of when it’s time to ink the drawing.)

Step Ten:
This step is just more of going over the lines you like to bring out the forms of the nose, eyes, hands (three fingers each) and add fur.

Step Eleven:
This is the last pencil step. We finally get that back leg! Because we wouldn’t see much of it, I waited until I had the shape of the front leg all drawn. Work on the eyes by adding lids and pupils. The bottom of a tauntaun’s take is kind of scaly, like the belly of a dragon, and the spade shape at the end of the tail had some similar ridges on it.

Step Twelve:
Using my ink pen, I go over the lines I like to finish the drawing. A lot of the details of my finished artwork is all done in the inking step. I focus on textures: lines that taper together or are all in the same direction for fur. Tauntauns are rather furry, they have to have it to live on ice cold Hoth!

Dots can be added to make snow textures on the ground. Smooth circles can look like falling snow. I find that when I ink it’s fun to make noises like the thing you are drawing. It helps get you to think more about what that think is like, how it moves or would feel like to touch, perhaps even how it would smell — bad on the outside, worse on the inside!

Step Thirteen:
Here is the final inked piece. Normally, I would erase the pencil lines using my softer kneaded eraser, but I left them in to show you that all those silly lines and shapes really went into making this final tauntaun drawing.

Step Fourteen:
You can take this farther and color the drawing with color pencils or markers or watercolors. If you are worried about messing up and ruining your drawing, it’s possible to photocopy the drawing and work on the copy.

Hope you enjoyed our trip to the Hoth zoo. Keep practicing drawing!

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 2023-12-08 15:30:42.

The Last Jedi | Concepts

Welcome to the Star Wars Gallery.  A collection of some great images from Star Wars: Episode VIII – The Last Jedi.

Below you will find a Gallery of Concept Art from the second sequel, from 2017.

I hope you enjoy them.

[foogallery id=”229915″]

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 2023-05-19 20:30:39.

Misc PDF’s | Yoda – Stencil

Welcome to Misc PDF’s. A collection of PDF files from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Yoda – Stencil

Click on the image to download the PDF.

Enjoy!

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 2023-04-18 14:00:11.

Star Wars | The High Republic: Light of the Jedi

Star Wars – The High Republic: Light of the Jedi

Welcome to the golden age of the galaxy! The Republic is expanding to the furthest stars thanks to brave hyperspace scouts, and worlds are thriving under the wise and caring leadership of the Senate. Plus, with the powerful Jedi Order keeping the peace, the citizens of the galaxy feel safe from any danger. But even in the brightest times, shadows can emerge and some threats can’t be predicted.

In “Star Wars – The High Republic: Light of the Jedi,” disaster strikes when a ship is torn apart in hyperspace, sending dangerous shrapnel flying towards a peaceful system. The Jedi quickly respond to the call for help, but the situation proves to be even more challenging than they could have imagined. As destruction rains down upon the alliance they helped to build, the Jedi must rely on their trust in the Force to save billions of lives.

But the hyperspace disaster is just the beginning, as a deadly threat lurks in the darkness beyond the Republic’s borders. This sinister danger is far more dangerous than the Jedi realize, and its secret could strike fear even into their hearts.

Sources:

Wookieepedia
Read Star Wars
Jedi Temple Archives
Yoda’s Datapad

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 16:28:25.

Drawing Boba Fett

Welcome to a look inside The Holocron – draw STar waRS. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Drawing Boba Fett

Ever wanted to draw Star Wars characters just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved and memorable characters in the saga. So get your pencils and paper ready!

To show you how to draw one of the galaxy’s most-feared bounty hunters — Boba Fett, Star Wars illustrator Joe Corroney explains his easy drawing steps with examples below.

Steps 1-7 are to be drawn lightly with a pencil. No pen, no dark lines. Finished lines and details will come at the end.

**Missing**
Step One:
Draw a simple circle with a vertical line down the center and another horizontal line just below the halfway point through the middle of the shape. Use the top or bottom of a small cup to draw your circle if you like since they can be tricky to draw freehand. Remember that these lines are just temporary so if you sketch them lightly they’ll be easy to erase later.
Step Two:
Draw four more connecting lines below the circle to represent the lower shape of Boba’s helmet. You’ll be using the upper half of the circle as part of your final shape.
Step Three:
Using the first two lines you drew as our guides, draw the T-shaped visor for the helmet.
Step Four:
Add these ellipses and curve lines below the visor on both sides to finish giving the helmet its shape. If you mess up it’s okay, just erase your sketch lines and try again!
Step Five:
Now you can draw the side panels and the antenna scope for his helmet at the sides of your circle. You’ll notice this is where our drawing of Boba Fett finally starts to come together.
Step Six:
Now you should start erasing your guide lines and doing some general clean-up on your line work. You can tighten up your drawing by making the lines you want to keep a little darker with your pencil. Begin shading in the visor and other parts of the helmet like the inside curves. This gives your drawing a sense of lighting and makes it feel three dimensional. To add some reflections inside the visor leave some white areas when you shade it or just use your eraser make them.
Step Seven:
Almost there… now we just need to start adding the necessary details to take your art to the next level. Add little arrows above the top-middle of the visor and a well placed dent (or two) in the helmet along with the rectangular markings on the right side. Add more shading and little cracks, scratches and scuffs in the helmet to make it feel used and weathered. This is my favorite part of drawing Boba Fett! Have fun drawing at this stage since it’s the all of the little details that set him apart from other bounty hunters and makes him look so cool to begin with.
Step Eight:
You just drew Boba Fett! Be sure to sign your name on your artwork, hang it on a carbonite block (or your refrigerator even) and proudly display it for your friends and family!
Step Nine:
Once you’ve got Boba down, try your hand at illustrating his bounty hunting dad, Jango Fett. To begin, simply follow Steps One through Six. Now add those same little arrow details along with thin pin stripes across the helmet just above the visor. Jango’s helmet is more polished since it’s not as beat up as Boba’s so instead of adding lots of dents and scratches experiment with different shading on the helmet and reflections in the visor. If you really want to impress your friends make up new markings and details on your helmet to create your own Mandalorian super-commando!

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 2022-10-21 15:51:53.