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mashounen1945 · 9 months
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Another interesting Star Wars history essay I saw on Reddit (yep, I'm serious)
[Star Wars Expanded Universe] A Tale of Two Clone Wars, or: The Original Star Wars "Canon" Crisis
Posted originally by the Reddit user "DocWhoFan16" on May 13th, 2022.
[Link to the original post: https://www.reddit.com/r/HobbyDrama/comments/up16zw/star_wars_expanded_universe_a_tale_of_two_clone/]
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I love Star Wars and I always have. I decidedly don't love talking about Star Wars on the Internet, mostly because I find it a chore to keep straight which parts I'm allowed to love and which parts I'm supposed to hate. It's no way to enjoy something, of course, but such is the nature of "being a fan" in the 21st century.
Nevertheless, the sad thing is that I can't seem to help but do it anyway, which is why I'm making this post (having threatened to do several times in various "Hobby Scuffle" threads) in which I have written five and a half thousand words about decade-old Star Wars fan drama that many people may have forgotten about, if they even knew it existed in the first place.
But maybe you will enjoy reading about it.
A Long Time Ago...
This is a story about the Star Wars Expanded Universe. I anticipate that most of the folks reading this will know what that was: the great mass of novels, comics, games, cartoons and more which took place in the fictional world of Star Wars, revealing "what happened next" for the protagonists of the movies, exploring its ancient history (a dark time in which the Jedi are hunted by the resurgent Sith Empire) and far(ish) future (a dark time in which the Jedi are hunted by the resurgent Sith Empire), and explaining how the extra with the ice cream machine who appears on screen for about three seconds in The Empire Strike Back was actually a Rebel sympathiser and the ice cream machine was actually a computer memory core containing sensitive information which he was trying to hide before the Empire could completely take over Cloud City.
When George Lucas sold Lucasfilm and Star Wars with it to the Walt Disney Company, the Expanded Universe found itself in limbo for a couple of years until Disney confirmed that, other than the six movies and the computer-animated Clone Wars TV series (in other words, the things in which George Lucas himself had taken an active and direct hand in creating, writing, producing and directing), all Star Wars stories produced prior to its acquisition would be rebranded as "Legends" and would not form part of the larger fictional story of Star Wars going forward.
My recollection is that most fans were more disappointed than angry. Of course, some people absolutely were angry, some of them were very, very, very angry, and many of those angry folks are still angry today, but I imagine most people had realised that this was an inevitable outcome from the moment the sale and acquisition was announced.
The Expanded Universe was now "non-canon".
However, I think the picture is a little more complex than that. I'm going to try to explain why.
Star Wars and "canon"
Oh, good grief. What a can of worms. This is a really easy topic to get bogged down in and it's almost certainly going to happen here, but I think it's pretty important to the overall story, so I'll wade through it.
My understanding has always been that "canon" in Star Wars prior to the sale of Lucasfilm to Disney vaguely operated on a kind of tiered system. At the highest level, you had "G" canon, which was anything George Lucas himself had taken an active and direct hand in creating, writing, producing and directing. This encompassed the movies, obviously, but also flippant off-the-cuff remarks ex cathedra pronouncements such as Obi-Wan's home planet being called "Stewjon", which Lucas "revealed" in an incredibly obvious dad joke when he was asked during an interview with Jon Stewart at a convention in 2010 (for the record, this is still "canon" — we shall see if it comes up in the Disney Plus series soon enough).
The lower levels of "canon" encompassed essentially everything that was licensed; in other words, everything Star Wars that George Lucas had no input on. This material was counted as "canon" to the extent that it did not contradict anything at the George Lucas level and, in some cases, some of it could even be "promoted" to that level if Lucas himself included it in one of his own productions.
The most famous examples of this phenomenon have been much-trumpeted over the years but were ultimately pretty minor things: "Coruscant" as the name of the galactic capital planet was first used in a Star Wars story by Timothy Zahn (who has always complained that nobody in the movies pronounces it correctly) in the first "true" EU novel, Heir to the Empire, and may have originated in the West End Games role-playing supplements he was provided with and instructed to use as background material for his books; the Jedi characters Quinlan Vos and Aayla Secura, who originated in the Dark Horse Star Wars comic series, made it into the prequel trilogy seemingly just because George Lucas liked how they looked.
However, I think when you take a closer look, it becomes pretty clear that this entire multi-level system was more of a Lucasfilm creation than it was a Lucas creation. Lucas's own views on the Expanded Universe and whether it was "canon" are much less complex, and I think his most succinct comment on the topic (which I believe he first used in 1998 or 1999 when he was promoting The Phantom Menace) is that he regarded the novels and comics and everything else as a "parallel universe". He claimed he had never even read any of the Star Wars novels and that he didn't really count them as "real" Star Wars, because he didn't make them: "real" Star Wars was his movies; everything else was licensing.
Indeed, one of the stock funny factoids is that Lucas apparently didn't particularly care for even some of the most popular elements of the EU. Perhaps the most notorious example is the character Mara Jade, a former Imperial agent and long-time fan favourite created by Timothy Zahn for Heir to the Empire, who subsequently becomes a romantic interest for Luke Skywalker and eventually marries him and has a son, Ben, with him. According to J.W. Rinzler, Lucas "loathed" Mara and objected to the idea that Luke would ever get married and have a family, because it didn't match his view that Luke would become a kind of ascetic monk who practised a strict life of celibacy after Return of the Jedi (something which Mark Hamill, during the press tour for The Last Jedi, also claimed Lucas told him while they were making the original trilogy).
Nevertheless, the impression I have always taken away, as someone who has enjoyed experienced varying degrees of participation in the Star Wars fandom in general and the EU fandom in particular for close to 25 misspent years at this point, is that it became a widely accepted "fact" of the hardest core of the Star Wars fandom that the EU was "canon" and on an equal footing to the movies.
If I may speculate, I think there are two really key reasons as to why this perception became so widespread:
First, for many years, the EU was in the rather unique position of being the only new Star Wars material that was being produced at all and, because Lucas didn't really express his opinion on the subject of whether the EU was "canon" or not until it was pretty firmly-established, so nobody had any reason to believe it wasn't "canon" (and in the absence of widespread Internet access, any remarks Lucas made may well not have reached as many ears as they would today in any event).
Second, I think that most people were fairly cognisant that, whatever his true level of substantive involvement, George Lucas ultimately had to sign off on all of this stuff, giving it his approval (if not his endorsement) in the same way he would approve any other piece of Star Wars tie-in merchandise, and this may have created an (inaccurate?) impression that Lucas considered all of it to be just as "canon" as the fans did, and just as "canon" as what he was creating himself.
I will say, though, I did think sometimes that most fans understood, at least on some level, that the idea the EU was "canon" was a sort of legal fiction, that Lucas would have the final say and that there was likely some distance between what Lucas probably thought and what many Star Wars fans probably thought. Still, as long as nothing Lucas himself was creating contradicted too much of what EU writers produced, or at least could be easily reconciled to and harmonised with it, the illusion was maintained. However, that position would soon become untenable.
The Clone Wars, Version 1
Star Wars: Episode II: Attack of the Clones came out in 2002 and the Clone Wars storyline, first mentioned in a single line of dialogue all the way back in Star Wars in 1977, officially began. Between 2002 and 2005, the story of the Clone Wars unfolded in a new multimedia mini-saga which took in the entire EU.
Star Wars returned to the small screen for the first time since 1986 with Star Wars: Clone Wars, a brilliantly kinetic and dynamic "microseries" from Genndy Tartakovsky which introduced a new Dark Side rival for Anakin named Asajj Ventress and debuted a new villain who would be appearing in the forthcoming Episode III, the Jedi-killing droid General Grievous. The ongoing Dark Horse Star Wars comic, initially conceived as a kind of anthology book featuring the new Jedi characters introduced in Episode I, was retitled Star Wars: Republic and spent the next three years telling stories from the Clone Wars.
Del Rey, which had assumed the Star Wars publishing licence in 1999, began a bespoke line of Clone Wars novels which really ran the gamut from pastiches of Apocalypse Now (Matt Stover's Shatterpoint, in which Mace Windu plays the Captain Willard role) and M*A*S*H (Michael Reaves and Steven Perry's MedStar duology, in which Jedi padawan Barriss Offee joins a field hospital on a remote but strategically important planet) to more conventional Star Wars adventures (e.g. Stephen Barnes's The Cestus Deception, which teamed Obi-Wan with popular background movie Jedi Kit Fisto, or Sean Stewart's Yoda: Dark Rendezvous). Of particular note was a computer game tie-in book called Republic Commando by a writer named Karen Traviss.
This will be important later.
I don't even know where to start with all the games that came out, but suffice it to say I don't think there was ever a more productive period for Star Wars games than this one, and a fair few of them (Bounty Hunter, Jedi Starfighter, The Clone Wars, The New Droid Army, Galactic Battlegrounds: Clone Campaigns, even the campaign mode for Battlefront II) were Clone Wars tie-ins.
Quality varied across the board, as you may expect. And although Lucasfilm did creditable job of keeping things fairly consistent, at least to the extent that the stories in each medium weren't stepping all over each other too obtrusively, the whole line ended up in the awkward position of having three "official" lead-ins to Episode III which didn't really fit together. The comic miniseries Obsession, the novel Labyrinth of Evil and the final season of Star Wars: Clone Wars each managed to place Obi-Wan and Anakin at three separate remote corners of the galaxy simultaneously as the attack on Coruscant which opens the movie begins, and all end with them racing to join the battle from three completely different locations! Similarly, the novel and the cartoon showed two different versions of General Grievous kidnapping Chancellor Palpatine and the cartoon and the comic showed General Grievous suffering two completely different critical injuries (Mace Windu drops a STAP on him in the comic and uses the Force to crush his organs in the cartoon) which caused his cough in the movie!
However, that was splitting hairs. At the time, between the books and comics and games and the cartoon and everything else, it really felt like the EU was telling the entire story of the Clone Wars from start to finish, with Episodes II and III as the bookends.
The story of the Clone Wars, it seemed, was complete.
"Seemed" being the operative word.
The Clone Wars, Version 2
George Lucas's next Star Wars project after Revenge of the Sith was supposed to be a live-action television series called Star Wars: Underworld, which fell through when it became clear that producing as many episodes as Lucas wanted at the level of quality he envisaged was impractical on a television budget. Thus it seemed that, just as it had been between 1991 and 1999, the EU was going to be the primary source of new Star Wars stories for the foreseeable future (although unfortunately, I think this is generally regarded as a period of mixed fortunes of the Expanded Universe; that's certainly my own recollection of the time).
However, once it became clear that the production of the live-action series had hit that roadblock, Lucas shifted his focus and work commenced on a new animated feature, which would be released theatrically and serve as the pilot for a new Star Wars animated television series, which would have a whole new multimedia mini-saga around it in books, comics and games, which would tell the complete story of a decisive era of Star Wars history.
It would be called Star Wars: The Clone Wars and it was going to tell the story of... er... the Clone Wars.
As I recall, the immediate reactions to the announcement and the first trailers were somewhat mixed. I have quite distinct memories, for instance, of people complaining that it looked "childish". When the movie came out and featured Anakin going on an adventure to rescue the vile gangster Jabba the Hutt's cute little baby son Rotta, over whom the murderous crime boss lovingly coos and to whom he refers as his "punky muffin", this initial impression was not exactly shifted. Likewise, I also recall a lot of particularly pronounced ill-feeling among Star Wars fans towards a new main character the show was going to introduce, a young female Jedi learner named Ahsoka Tano, who would end up being accused of being too perfect, too powerful and, you guessed it, a Mary Sue.
However, bubbling beneath all of this fairly predictable surface-level criticism was a certain element of suspicion: the EU already did the Clone Wars, and pretty comprehensively too! You say you're going to do it again; are you going to... replace the original one? Somewhat surprisingly, Lucasfilm actually gave assurances that this would not be the case. Supervising director and executive producer Dave Filoni, whom George Lucas had been hand-picked to oversee the new series, and other folks at Lucasfilm insisted that they wanted to take the existing EU continuity seriously, to supplement rather than supplant the existing "canon" of the Clone Wars and to respect what had gone before.
However, it was made abundantly clear that this was George Lucas's series, and his word was going to be final.
When the series began, it's true that there were a few small things which were inconsistent here and there: for example, the Jedi master Eeth Koth appears in an early story arc, contradicting a comment from an Attack of the Clones reference book which said he died on the Battle of Geonosis; but that was only a reference book, not an actual story, so that was an acceptable discrepancy and one which was easy to ignore without much fuss.
I know there were still plenty of folks who dismissed it as a disposable product for children (as opposed to the many mature, sophisticated dismemberments scenes Troy Denning was writing in Star Wars novels at the time, I suppose), but I'd say The Clone Wars found an audience who appreciated it pretty quickly. Maybe it had a somewhat shaky start, but it was and is a good show: it was able to thread the needle of tackling complex themes and plots while staying simple and straightforward; it had strong characterisation and great performances from its three lead voice actors (Matt Lanter as Anakin, James Arnold Taylor as Obi-Wan and Ashley Eckstein as Ahsoka); it managed to add some depth to one-note characters like Asajj Ventress and did a great job of characterising the clone troopers as distinct individuals in spite of their identical DNA; and it has to be said that there were few cartoons on television that looked better at the time, because Lucas was apparently putting his own money into it to ensure that its animation would be top-notch.
Is it perfect? Of course not. Does it still have its flaws? Absolutely? Is it still kinda distracting that we're asked to accept Anakin as a basically good person here when he's already ethnically cleansed a whole village of indigenous people in the previous movie? Well... For me, it kinda is. But it still evens out as a really good and very fun wee series. And most importantly for some fans, it felt like it was siloed off in its own little corner of the EU, to be safely ignored if you preferred, not intruding on anything else and not threatening the integrity of the "canon" of the original Clone Wars.
Then, on 15 July 2009, they published The Art of Star Wars: The Clone Wars.
The Drama Awakens
There's probably few Star Wars novelists more controversial than Karen Traviss. I'm not a fan of her work or her take on Star Wars and must confess I never have been, but that's a whole other thing by itself and not what I'm here to talk about, I'm decidedly not a "hater" and I will do my best to be even-handed. What you need to know is that one of the things Traviss had become very well-known for was her seeming fascination with (some might say fixation upon) the Mandalorians. After writing the first Republic Commando novel, Traviss took it upon herself to develop the history, culture, customs, society and language of the Mandalorians. I'm not sure if "Space Gurkhas" would be the most accurate way to sum it up, but that's where my mind tends to go. Again, not something I'm especially interested in (Boba Fett was always infinitely more compelling to me before we knew what was under the helmet) but loads of people love it and that's cool.
When The Art of Star Wars: The Clone Wars came out, it included some information regarding a trilogy of episodes which would be part of the then-forthcoming second season: "The Mandalore Plot", "Voyage of Temptation" and "Duchess of Mandalore". It explained that Mandalorian society had once been warlike in the past, but by the time of The Clone Wars had embraced a pacifist philosophy and rejected their bellicose history, with the only holdouts against these values being the mysterious terrorist gang known as Death Watch (itself an adaptation of an older EU idea from the W. Haden Blackman Clone Wars tie-in comic Jango Fett: Open Seasons) who sought to overthrow the benevolent rule of Duchess Satine and return Mandalore to the old ways. The Mandalorians themselves resided in futurustic cities amidst the barren, blasted wastelands of their home planet.
All of this, to one extent or another, directly and irreconcilably contradicted much of what Traviss had created in relation to the Mandalorians. As you might expect, Traviss was extremely unhappy. In fact, she was so unhappy that she quit Star Wars completely and left, never to return, claiming that she felt she and her work had been disrespected and disregarded by Lucasfilm and that she no longer wished to work under such conditions. (While it is understandable that she would be upset, as many have noted over the years, this was and still is regarded as a bit rich, because another thing Traviss had a bit of a reputation for was claiming that she didn't read anyone else's Star Wars novels, but would still take characters from them and use them as she pleased. More to the point, many other Star Wars EU authors - Tim Zahn, Steven Perry and Kathy Tyers among them, off the top of my head - had been pretty clear that they understood they were playing in someone else's garden and recognised that, from Lucas's perspective, their work wasn't really "canon" in the first place.)
But if Traviss was unhappy, EU fans generally (and fans of Traviss's work in particular) were probably even unhappier. Their worst fears had been realised. Lucasfilm had reassured them that the "canon" status of the EU would be respected and, bluntly, it hadn't been. One of my most distinct memories of this entire drama was the front page of Wookieepedia rather bitterly putting up a George Lucas quote on its front page, in which he denounced making changes to other people's work. Overnight, Dave Filoni became a kind of hate figure for fans, accused of being "smug" or "arrogant" or denounced for "butchering the canon" of Star Wars, for trampling over the work of other (and, implicitly, "better") creators, for being a "prequel apologist" (back when that was a mark against you), for "ripping off Karen Traviss" and then "forcing her out of Star Wars", and probably some other invective that I've forgotten.
As it transpired, though, this was only the beginning.
Begun the Clone Wars Wars Have!
It's kind of fascinating to look back at how that event seemed to open the floodgates, because in the remaining seasons of The Clone Wars, the position of the Expanded Universe was made absolutely clear: the idea that it was ever "canon" was and always had been at the sufferance of George Lucas, and if George Lucas wanted to change it, George Lucas was going to change it.
You see, according to comments from Filoni himself in later years, a lot of the stuff around the Mandalorians which had so incensed Traviss and a lot of hardcore EU fans, apparently came directly from George Lucas. Lucas, he has explained, began to become increasingly involved with the creation and development of the series storylines from the second season onwards, contributing ideas and sometimes even full outlines for episodes or multi-part story arcs. The Mandalore trilogy in season two was, from what I understand, one of the first times he did this.
They were small changes, in some ways, but nevertheless, they had a pretty fundamental impact on the integrity (for want of a better word) of the Expanded Universe, because they were changes which couldn't be reconciled to the existing EU. Here are some examples:
The planet Ryloth had always been characterised in the EU by its status as a "tidally-locked" world where one half was a scorched desert always facing its sun, the other half was a frozen desert always facing away from its sun, and the native Twi'leks inhabited a narrow twilight band around the middle; when Ryloth appeared in The Clone Wars, it seemed to be a fairly generic world of rolling plains and hilly grasslands (and all the Twi'leks were French).
The Dugs (Sebulba from The Phantom Menace is one) were the natives of the planet Malastare, and the established position in the EU was that they had been subjugated and enslaved by the colonising Gran (the three-eyed goat-faced dudes; you'd know them if you saw them) species. When the Zillo Beast story arc appeared in The Clone Wars (another major example of a direct Lucas contribution; he was keen to do an homage to classic kaiju movies), it took place on Malastare... where the Dugs govern themselves and there is not a Gran in sight.
Darth Maul, a character that George Lucas had killed off in the most definitive manner possible precisely because he knew people would want him to come back from the dead and he didn't want that... came back from the dead, apparently at Lucas's own suggestion! Not only that, but he came with a hitherto unseen evil secret brother and a whole new backstory, which tied into...
The planet Dathomir was one of the better-defined worlds of the EU: a matriarchal society of Force-sensitive barbarian witches who rode on the backs of tame rancors; the sinister Nightsisters as witches who had mastered the dark side of the Force. In The Clone Wars, some of the basic elements of this are retained, but they are reimagined so as to form the basis of the new origin story of Darth Maul (now portrayed as a "Nightbrother"), as well as that of...
Asajj Ventress, now portrayed as a native of Dathomir and daughter of the Nightsister leader, replacing the origin developed by John Ostrander in Star Wars: Republic which placed her as the daughter of murdered freedom fighters on a remote planet who was trained in the Force by a stranded Jedi and turned to the dark side and conquered her homeworld after he was killed by her political enemies.
One of the most significant changes involved the character Barriss Offee, one of the background Jedi introduced in Attack of the Clones. Usually appearing alongside her master, Luminara Undili, Barriss had generally been portrayed as roughly the same age as Anakin, featured as a main character in the aforementioned MedStar novels and was generally agreed to have fought alongside her master throughout the war and died during Order 66. In The Clone Wars, Barriss is reimagined as a younger character, closer in age to Ahsoka than Anakin, and in the final arc of the initial broadcast run in 2013, she falls to the dark side, betrays the Jedi Order and frames Ahsoka for a terrorist attack that she perpetrated herself.
Quinlan Vos, a Jedi master who walked the line between light and dark, was one of the most popular characters of the Expanded Universe, the main character of Dark Horse's Star Wars: Republic whose stories chronicled his struggle with the dark side as he infiltrated Count Dooku's inner circle, allowed himself to be guided down ever darker paths in the name of maintaining his cover and his ultimate rejection of the darkness out of love for his family and friends. He makes a guest appearance in The Clone Wars, and he's honestly kind of a surfer dude, not really feeling much like the same character he'd been in the comics at all. (This is one that I remember people being particularly frustrated with.)
Character deaths: the two most significant which occur to me are the Jedi masters Even Piell and Adi Gallia. The former is killed in the Clone Wars episode "Citadel Rescue" from 2011, when he is mauled by a nexu during a prison break... but he'd already been killed by clone troopers during Orer 66 in the novel Jedi Twilight in 2008. The latter is killed by Darth Maul's evil secret brother Savage Oppress in the Clone Wars episode "Revival" from 2012... but she'd already been killed seven years earlier by General Grievous in the Dark Horse comic Obsession from 2005!
Examples of smaller —but still significant— changes to characters include the portrayals of: Aurra Sing, an Episode I background character who had become a major villain in the Dark Horse comics as a former Jedi padawan who fell to the dark side and became a prolific Jedi-killer, portrayed in the series as Boba Fett's mentor as a bounty hunter with no indication that she has the Force; Dengar, who had been a rival of Han Solo and became a bounty hunter after a near-fatal accident in a speeder bike race against him in the existing EU, is now portrayed as having been a bounty hunter since the Clone Wars, potato sack on his head and all; and like Dengar, Greedo (seriously!), who previously in the EU had been a rookie bounty hunter with a grudge against Han Solo when he appears in Star Wars, is also established here to have been active as a bounty hunter since the Clone Wars.
And most offensively of all, now General Grievous had always had a cough the entire time!
For better or worse, the cat was out of the bag. The new Clone Wars wasn't just overwriting parts of the original Clone Wars, but entirely different parts of the Expanded Universe altogether. Filoni, to be fair, did try for a few years to make the case that it all fit together in some way, that the new Clone Wars was looking at the old Clone Wars "from a different point of view" (this is Star Wars, after all). I think it's always been pretty clear that Filoni is a fan of the EU and all of the references he made then and continues to make in his Star Wars work today reflect his appreciation for it; the many, many, many claims that he actually hated it and his fans seem completely without foundation to me. However, as the position became less and less tenable, he would eventually give an interview to Star Wars Insider in 2012 in which he came right out and said that the Clone Wars animated series and the EU "don't live in the same universe". And it was clear which one was "supposed" to "count".
Here's a clue: it's the one that George Lucas was helping to make. The creator of Star Wars was actively creating new Star Wars "canon", and this time, it seemed to the EU's longtime fans that these new additions had little to no regard for the existing "canon" at all.
Conclusion
By far the most tangible and shocking outcome of this drama was the exit under a pretty dark cloud from the Star Wars universe of Karen Traviss. I've said I didn't like her work at all, but the fact remains that many, many fans loved and valued what she contributed to Star Wars and still do to this day. In the years since Disney purchased Lucasfilm, we have seen creators walk away from or find themselves "forced out" of Star Wars for one reason or another, whether that's Phil Lord and Chris Miller, Colin Trevorrow, Chuck Wendig and others, but I don't think any departure was quite as divisive within the Star Wars fandom as was that of Karen Traviss. Karen Traviss wasn't fired over creative differences, because she wanted to take her work in one direction and Lucasfilm wanted it to go in another; Karen Traviss quit because she felt that she and her work had been disrespected by someone else's work (that "someone else" ultimately being George Lucas) and she made abundantly clear that this was why she had made the decision to exit.
But the more significant outcome was much quieter. I don't think fans had fully appreciated that it had happened at the time and (perhaps due in no small part to some of the misconceptions which I think still exist around George Lucas's own views on "canon" in Star Wars which I mentioned above) to a large extent, I'm not sure that many of them really appreciate it even today. The Clone Wars blew the Star Wars EU wide open in a very fundamental and irreversible way. For the first time, here was George Lucas himself helping to create something which said (or, at least, was perceived to say), in a very direct definitive manner, in a way that couldn't really be reconciled or ignored like it always had in the past, that all the comics and games and novels that you liked "didn't count" as "real" Star Wars, because that's what this was meant to be. Whenever people say that "Disney made the EU non-canon", it is only reasonable to acknowledge that George Lucas kind of did that first.
Of course, attempts were still made. I understand that the Fate of the Jedi novel series (which I have to emphasise I never read and never have read) gamely tried to incorporate some of the new Force mythology from The Clone Wars (specifically the Son, Daughter and Father characters; mysterious personifications of the Dark Side, Light Side and Balance of the Force respectively) into its storyline regarding the Space Cthulhu Force creature Abeloth, but I feel that it was a bit of a lost cause by that point. If Lucasfilm's decision to introduce the Legends branding was the end, then The Clone Wars, whether we realised it at the time or not, was the beginning of the end.
My own opinion on the matter is that Disney didn't "invalidate" the Expanded Universe; they just didn't validate it.
Final Thoughts
I think there are two great ironies that came of all of this.
The first is that a lot of Traviss's contributions to the portrayal of the Mandalorians were actually kept in the long term and, to varying degrees, remain part of Star Wars today. A lot of the stuff you see in The Mandalorian (a series co-created and co-produced by none other than Dave Filoni) seems to owe at least as much to some of the language and concepts that Traviss introduced as it did to the developments in relation to the Mandalorians which occurred throughout the Clone Wars cartoon.
And the second is that Dave Filoni, once one of the great hate figures of the Star Wars fandom, is today regarded as one of its heroes, the protector of "George's legacy", the "only man who really understands George's vision", the Chosen One who will "save" the series he was once accused, incessantly and often virulently, in the kind of terms that you have to literally be Rian Johnson to have thrown at you today, of "selfishly" and "arrogantly" trying to destroy. Let me be absolutely clear, I think Filoni is a talented writer and artist and I'm always keen to see what he does next in Star Wars, but forgive me if I find all the hero-worship a bit two-faced, because I remember very clearly when the shoe was on the other foot.
Perhaps the decision that The Clone Wars, alone of the EU, would be "canon" after Lucas sold to Disney was a blessing in disguise. It didn't matter if it had contradicted and overridden "canon" any more, because now everything it had supplanted was "non-canon" in a much more definitive way than it had arguably been before. You could go back to it and enjoy it for what it was rather than hating it for what it wasn't, and I'm pretty sure that a lot of people who did so recognised its accomplishments on its own merits because it deserved recognition, not because it was or wasn't arbitrarily "canon".
Or, perhaps, the people who rejected it the first time around, who would fill message boards with so much invective about how "the canon" was being vandalised with every new secret evil Darth Maul sibling or inconsistency with this or that comic or novel, had all left with Karen Traviss.
Whatever the case may be, that's the Clone Wars. Both of them.
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A selection of enriching comments from the original post:
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"UnsealedMTG" said:
I'm going to ramble a bunch but I want to put upfront the funniest "HobbyDrama" part of this, and what I first heard about the conflict, having checked mostly out of the Star Wars fandom at the time: Karen Traviss referred to the people who opposed her work as "Talifans", comparing them to the Taliban because liking the Jedi too much made them like oppressive theocrats; her own faction went by "Fandalorians".
Awesome post! I remember a lot of this, though I was mostly checked out of Star Wars for much of the Clone Wars era, bopping in to read some of the newer Timothy Zahn books and to watch the totally sweet Tartarovsky cartoon. (I've since seen the 2nd Clone Wars cartoon, and yeah, it's pretty great overall if uneven for sure. Shout out to Dee Bradley Baker for his awesome voice work as all the clones, balancing their sameness with their individuality.)
I agree with your takes and just want to add some notes/thoughts.
The official Lucasfilm canon system for the EU was a little more complicated than even addressed in this post, and some of that kind of relates to this dispute. Any stuff from a lower level was kind of "true unless contradicted by a higher level", at least officially.
As mentioned, the top level was G Canon, meaning "George Lucas". It referred to specifically the 6 live-action films (before the Disney buy-out), the radio dramas, the film scripts, and comments by George Lucas.
The 2nd level was T Canon, meaning "Television". That included only the CGI Clone Wars series. So, CGI Clone Wars notably was not quite officially the top level. But it trumped books.
The 3rd level was C Canon — this was your core EU stuff.
The 4th level was S Canon, for "Secondary canon". This was basically old or weird stuff that wasn't really consciously integrated into the EU, either because the EU's idea hadn't been developed yet or because it was games-related. Examples are the Star Wars Holiday Special or the MMO Star Wars Galaxies.
Finally, there was N "Canon", which was non-canon material like the comedy issues of Star Wars Tales or the Star Wars Infinities comics, which were like the Star Wars version of Marvel's What If? (I genuinely love those even if they have dumb stuff, like the one set at the end of Return of the Jedi, where Vader survives but turns Light-Side and shows up in his Vader armour... coloured white now). Sometimes, when people are like "Look at this absurd thing that was canon in the EU!", they are talking about N Canon stuff that was never intended as canon and it bugs me. Wookiepedia encouraged this — multiple times I've encountered people saying it was canon in the EU that the droid that blows his motivator up in the original Star Wars was really Skippy the Jedi Droid, who went on to protect people on Tatooine as a ghost. That comes from an 8-page joke comic by Peter David from Star Wars Tales. It is a pretty good parody of the EU's tendency to turn every minor character into a secret Jedi, but it is a parody and it is not quite fair to the EU to treat it as real.
"Nevertheless, the impression I have always taken away, as someone who has enjoyed experienced varying degrees of participation in the Star Wars fandom in general and the EU fandom in particular for close to 25 misspent years at this point, is that it became a widely accepted "fact" of the hardest core of the Star Wars fandom that the EU was "canon" and on an equal footing to the movies. If I may speculate, I think there are two really key reasons as to why this perception became so widespread [...]"
I have a slightly different memory/perception. I always got the sense that people understood that the movies trumped the EU. And the EU stayed well clear of the Prequel era before the Prequels came out because they knew Lucas might want to eventually fill that in.
What I think was more controversial was the TV show trumping the other EU items since, even if there was some involvement from Lucas in the show, it still wasn't a movie so it seemed weird to give it the status close to or equal to a movie. It seems less weird now that the new canon has been built around the TV show, but at the time, it was all "not the movies" and it felt weird that some "not the movies" stuff could trump another.
I also have a couple of other thoughts about the why of canon expectations for the EU:
This is hard to imagine today given, on the one hand, what a cluster the EU became, and on the other hand, how used to integrated multimedia franchises we are now. But in fact, the EU was galaxies ahead of other licensed media in terms of coherence. Before Heir to the Empire, I don't know of any prominent franchise that even tried to get its licensed material to agree with each other. So when you read a Star Trek novel in the 90s, you just understood that anything not directly from a show wasn't "real" and wouldn't be referred to in a book by a different author. The fact that Star Wars made the effort was really ahead of its time, and once you saw that Mara Jade was going to be in books not only by Timothy Zahn but Kevin J. Anderson as well (not that she's all that recognizable between those two), the idea that there was a canon followed naturally.
There were plenty of reference works published that referred to all this EU canon. I remember a pre-Prequels Star Wars dictionary with a proto-version of the elaborate canon hierarchy. Anything from the movies was marked with the Rebel Alliance symbol, meaning movie material. Anything from the EU was marked with the similar but distinct New Republic symbol. Stuff like that created the idea of a two-tier system that, again, the 2nd Clone Wars cartoon seemed to upset by barging in at a second tier above the other EU stuff.
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"DocWhoFan16" (the original poster) replied to "UnsealedMTG":
"The fact that Star Wars made the effort was really ahead of its time, and once you saw that Mara Jade was going to be not only in the books written by Timothy Zahn but also in the ones written by Kevin J. Anderson (not that she's all that recognizable between those two), the idea that there was a canon followed naturally."
I think the tricky thing here is that there was a bit of a dispute right at the start of the EU when they decided that, even though the novels seemed to be the "official" continuation of Star Wars after the movies, the comic Dark Empire was going to "count" as well.
The thing is that Tom Veitch had been pitching Dark Empire since around 1986 or 1987 (to Marvel, originally, since they were still publishing Star Wars comics at the time) and it was imagined as the "what happened next" story to follow the movies.
When Bantam Spectra announced they'd be starting a series of novels, one of the options they considered was asking Veitch to write a novelisation of his comic, which he was up for doing. But then they opted to go with Zahn's story instead, because Zahn had a growing reputation in science-fiction and was under contract to them already.
Zahn developed the story for the Thrawn Trilogy completely independently of Veitch developing Dark Empire, and it's my understanding that when he was asked, he flat-out refused to include any Dark Empire references in his book, largely because he didn't like the story of Dark Empire. Essentially, the Thrawn Trilogy and Dark Empire were "supposed" to be two alternatives rather than stories that both "happened" within each other's fiction. Zahn gave Han and Leia a twin son and daughter in the Thrawn Trilogy; Veitch gave them one son in Dark Empire. It was never "planned" for them to have three kids: they had two in the novels and one in the comics.
The "problem" (such as it was) arose when Kevin J. Anderson wrote the Jedi Academy trilogy and, later on, Darksaber, because Anderson and Veitch had compared notes and found they shared a similar idea of Star Wars and Anderson ended up including references to Veitch's comics in his novels, effectively making them part of the "canon" of the EU when their position had previously been a bit murkier. So (just for example), whereas the novels had been moving forward with the assumption that Han and Leia had these two kids, now they had a third one to account for!
(Indeed, an RPG supplement eventually "revealed" that the assassination of Grand Admiral Thrawn by the Noghri was somehow orchestrated by the cloned Emperor from Dark Empire, which I suspect is probably the kind of thing Zahn pointedly wanted to avoid)
That's my understanding of it, anyway, though of course I may have the wrong of it.
"There were plenty of reference works published that referred to all this EU canon. I remember a pre-Prequels Star Wars dictionary with a proto-version of the elaborate canon hierarchy."
Sure, that may also illustrate an earlier, non-drama-causing example of this phenomenon: I remember devouring The Essential Guide to Characters as a child... and being confused about why none of the stuff from the old Marvel comics (which Dark Horse had reprinted and I'd read in that format) was in it!
I will say, I think that getting online circa 2002 and having rude people tell me I was wrong to think the Marvel comics "counted" was probably what started me down the path to not really caring about "canon" that much, LOL. :p
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"UnsealedMTG" replied to "DocWhoFan16":
I believe that's all generally correct. In my mind, there were some textual changes to Dark Empire to sort of make it fit with the new idea that it was later than the Thrawn Trilogy, but that might have been my mind inserting that because I already "knew" the "official" timeline which put Dark Empire well after Thrawn.
It was definitely messy from the beginning, but what was kind of novel and helped create the concept of a true multimedia franchise was that they made the effort at all. That created a kind of expectation —certainly not always met— of consistency in stuff like the timeline for Star Wars that wasn't common in other media.
I remember Marvel editor Jordan D. White, who edited the new Marvel Star Wars comics for some time, talking about the sort of culture shift from other comics fans —who are used to the sort of general handwaving of Marvel's shifting timeline that defies any real one-to-one timeline (this is how Peter Parker can simultaneously be in his early 30s but have comics with him 17 in the 1960s still be canon, or how the war during which Tony Stark was kidnapped can keep moving forward in time without a full reboot)— to Star Wars fans who want, like, a month-by-month timeline.
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"thrashinbatman" replied to "UnsealedMTG":
It is. Dark Empire was originally supposed to take place before or around the same time as the Thrawn Trilogy, but since Zahn refused to acknowledge them, they were set about a year later. Kevin J. Anderson's acknowledgement of Dark Empire in the Jedi Academy books creates a really silly scenario where, off-page, the New Republic loses Coruscant, is forced back into more of a Rebellion situation, then takes Coruscant back and reestablishes the status quo from the Thrawn Trilogy. It's really dumb, but actually is one of the few major incongruities in the EU outside of the massive ones created by Lucas and Dave Filoni that were discussed in the original post.
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"Raxtenko" said:
"literally be Rian Johnson to have thrown at you today"
Ha, maybe that's why Filoni and Rian Johnson seem to get along: commiseration over bad fan reactions.
I'll admit that I internally rolled when I saw the EU tag. I'm sick to death over all the anger and drama. But this is a very fair and neutral write-up. Good job.
I remember reading Zahn's trilogy some 20+ years ago and absolutely loving it. In the void after Episode VI, it was a great sequel trilogy and I gobbled them up. I remember how disappointed I felt when the Prequel Trilogy came out, and the slow disappointment I felt when the differences between it and Zahn's works popped up. I think I realized then that Lucas didn't really consider the EU to be canon in his universe.
I still kept reading the novels, but probably something inside me broke and I didn't really enjoy them anymore, coupled with some very silly DBZ-level power jumps. I left it behind when I saw Starkiller pull that Star Destroyer out of orbit.
I was still on my hiatus when the Karen Traviss thing happened. I only watched the Sequel Trilogy because my wife loves Star Wars. After that, we watched The Clone Wars at her suggestion. It spun off into Rebels and the live-action stuff after. I'm firmly back now in the fold for better or worse, but I believe with all my heart that there has never been a better time to be a Star Wars fan.
And looking back on it, I'll always have the good memories of Rogue Squadron, Kyle Katarn, Zahn and everything else that I enjoyed from the EU. Those memories won't go away and they can't be taken from me. A small petty part of me will always take some glee that the parts I loathed aren't "canon" anymore, though. It really doesn't matter to me, but some fans will twist themselves into pretzels if things they like don't have the vaunted canon status, so they can suffer and be miserable instead of focusing on the positives.
And I'll also always have Hera and Kanan (best Star Wars couple; fight me, Rebels haters), and The Mandalorian and The High Republic are looking pretty good too.
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"mdp300" replied to "Raxtenko":
Dude, you sound a lot like me. I was a huge fan in the late 90s, then kind of drifted away for a while, and got back into it with the CGI Clone Wars series. I was fine with Disney starting things over because a lot of the EU was bad. And anyway, I still have my old Rogue Squadron books in the closet.
I think a lot of weird contradictions about the Jedi come from the fact that, up until The Phantom Menace in 1999, we knew very little about the Jedi other than the fact they were cool. So writers had a lot of different interpretations of them, a lot of which ended up being wrong.
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"DocWhoFan16" replied to "mdp300":
"I think a lot of weird contradictions about the Jedi come from the fact that, up until The Phantom Menace in 1999, we knew very little about the Jedi other than the fact they were cool. So writers had a lot of different interpretations of them, a lot of which ended up being wrong."
I think the most significant one was the not-unreasonable assumption that Jedi could marry and have children and that, if you were a Jedi, chances were your parents were Jedi as well. And if you only have the Original Trilogy to go on, you'd be hard-pressed to say you had the wrong end of the stick. Who's the main Jedi of the Original Trilogy? Luke Skywalker. And why is Luke Skywalker a Jedi? Because his father was a Jedi. He says it in Episode VI: "The Force is strong in my family".
So you have a book like Children of the Jedi, which has at the centre of its premise the idea of an old Imperial battle station which existed for the purpose of tracking down and kidnapping the children of Jedi knights (collateral to this was the widely-held supposition among EU writers that the Empire had been around for much longer than would turn out to be the case and had been running the show for a while before they decided to wipe out the Jedi, rather than the Jedi purge being the start of the Empire). Or the character Corran Horn, whose backstory is that his grandfather was a Jedi knight during the Republic.
The Prequels upended that assumption, although I'd argue not to the same degree as Clone Wars Version 2 did, because they had recourse to a mostly neat workaround that characters like Corran Horn's dad had just been breaking the rules!
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"thrashinbatman" replied to "DocWhoFan16":
Yeah, you mention that Lucas hated Mara Jade and the concept of Luke being married, but I don't think he always held that opinion. He was actually fairly involved in the EU in the 90s. I don't think he really read the novels, but at least he skimmed the comics and most story ideas went through him. He at the very least approved Veitch's idea to bring Palpatine back (some accounts go as far as saying he proposed the idea, but that could just be a misunderstanding), and his suggestion to the crew writing The New Jedi Order that they should "get creative" was what led to the Yuuzhan Vong. Near as I can tell, it seems that The New Jedi Order was the last EU project he was really involved in prior to the CGI Clone Wars show (and the lack of any oversight really shows with EU storylines after The New Jedi Order in my opinion).
All of that is to say that, if Lucas really didn't like the idea of Jedi having families and Luke being married, he had plenty of opportunities to nip that in the bud. He had no issue putting rules for the authors in place (no major Original Trilogy characters could die, no one could be more powerful in the Force than Luke or Palpatine, no stories could be set during the Clone Wars era) and totally could have instituted a "Luke cannot have b****es" rule, but he chose not to, as well as he didn't institute such a rule for any of the other Jedi characters: he sat by as Corran Horn(y) spent half of I, Jedi ogling the female characters and every author created a competing OC for Luke to be with.
Another thing Lucas seems to be notorious for is changing his story. Lord knows his take on how many movies were supposed to exist changed from interview to interview. I fully believe he only began to feel that way about Luke and Mara after he came up with the celibacy rules in Attack of the Clones. There's no way he could have felt that way about the Jedi in the 90s because, again, he had plenty of opportunity to establish it much sooner.
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"AdmiralScavenger" replied to "DocWhoFan16":
George Lucas answered questions for the writers of Tales of the Jedi and he never mentioned Jedi could not marry or have children. Nomi Sunrider is a Jedi knight who was married to another Jedi and whose daughter became a Jedi. Even The Phantom Menace doesn't say you can't be married, that didn't happen until Attack of the Clones. Even the Return of the Jedi novelization has Anakin, after Luke removed his helmet, think about his wife for a moment. Anakin's backstory always was that he was married.
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"cricri3007" replied to "Raxtenko":
"I still kept reading the novels, but probably something inside me broke and I didn't really enjoy them anymore, coupled with some very silly DBZ-level power jumps. I left it behind when I saw Starkiller pull that Star Destroyer out of orbit."
Okay, to be fair to Starkiller: if I remember right, the Star Destroyer was actually already damaged and crashing, he "just" made it crash faster so it wouldn't crush the entire city.
Still ludicrously powerful, of course, but at least more believable, if only slightly.
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"ToaArcan" said:
One of the funniest things about this whole saga, in my view, is that the first half of the Battle of Coruscant is still a tangled unknown.
Whereas the EU had multiple contradictory stories about what exactly went down when Grievous launched his attack on the Galactic Capital and made off with the Chancellor, the new canon has... very little. It just uses the broad-stroke attempts to marry the contradictory material together from Legends.
For all that most of the EU has been superseded by new material, the Gordian knot that is the EU's take on the Battle of Coruscant continues to linger on, being confusing.
It's somewhat understandable, though. With the exception of Season 7 of the actual Clone Wars TV show, Disney has been somewhat reluctant to revisit the Prequel era — Disney Star Wars is basically all Original Trilogy and things that look like the Original Trilogy. The Sequel era also got basically dropped off a cliff after The Rise of Skywalker stumbled into cinemas and we went right back to Original Trilogy fanservice. And with them only having so many episodes, I can see why Dave Filoni and Co. didn't cover Coruscant.
Maybe they just couldn't think of a way to convincingly show Lucas's laughably incompetent version of Grievous achieving something as audacious as kidnapping Palpatine.
(Honestly, Grievous is the funniest thing about this whole mess to me: Lucas gave Genndy Tartarovsky, the people at Dark Horse, and whoever was doing the books at the time, nothing but a character design and a vague idea of what he did, and they all decided that General Grievous was the coolest f***ing thing ever; then, Lucas came in two years later and said "Actually, he's the galaxy's biggest loser and all he does is cough and run away", and the fandom have been pissed about it ever since)
"Is it still kinda distracting that we're asked to accept Anakin as a basically good person here when he's already ethnically cleansed a whole village of indigenous people in the previous movie?"
I think I said in the previous Star Wars write-up we had that this is one of those things where the way the Tuskens are framed in older Star Wars material is extremely wonky — Everything the movies showed us gave them all the nuance that a 1st Edition D&D book would give to Orcs. All we know about them from the films is "They ride in single file to hide their numbers, they've been known to murder Jawas for little established reason, they shoot Podracers and kill the pilots for kicks, and they kidnapped a random civilian woman, crippled her husband when he tried to rescue her, and then slowly tortured her to death over the course of weeks because she was... standing right there?"
Tuskens, as portrayed by the movies, are cartoonishly evil. But since then, the "Wait, these are people" thought process has become more common, and that just makes what happened in Episode II even worse. Like, it was already bad, but now it feels more real.
I do think that the decision by the new shows of the Disney era to opt for a "These are victims of colonialism, actually" approach was probably a bit of a dodgy move, though. Nothing says "victim of colonialism" quite like torturing a random woman to death, especially when Shmi Skywalker was only on Tatooine in the first place because she'd been brought from off-world as a slave.
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"Terthelt" replied to "ToaArcan":
I do want to push back a tiny bit on Grievous being a complete loser in the 2nd Clone Wars show. There are actually quite a few episodes where he's depicted as being an unstoppable, menacing general, like the arc in which he wages genocide on the Nightsisters, who aren't exactly pushovers. It's just that he's only able to be the biggest fish in the pond when he isn't fighting any Jedi, and the minute any lightsabres kick on in his direction, he immediately starts to coward out and go for cheap backstabs.
The point is: it totally would've been possible to depict him staging a competent and cool assault on Coruscant, as long as Filoni and crew devised a way to keep every single Jedi on the planet away from Palpatine's office.
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"DocWhoFan16" replied to "Terthelt":
I guess it's hard to get out of the shadow of that very first appearance in the last episode of the 2nd (?) season of Tartarovsky's Star Wars: Clone Wars, where you have Grievous taking on four or five Jedi at once and winning until reinforcements show up and chase him off.
A tough act to follow!
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"radwolf76" replied to "DocWhoFan16":
"[...] where you have Grievous taking on four or five Jedi at once and winning [...]"
And one of those Jedi is essentially Scooby-Doo's Shaggy except with a lightsabre. Admittedly, the story was animated before the full extent of Shaggy's Power was widely understood, so he's kind of a pushover.
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"Lastjedibestjedi" replied to "ToaArcan":
I think the original Tuskens were heavily based on Bedouin tribes.
They were the original inhabitants, didn't especially like Jawas, were very tribal (no central or single group) and would steal your shit with no problem if you were in their territory.
It wasn't until the Prequel Trilogy that they were also slavers and torturers (and I believe it was implied they were rapists as well).
It was a heavy about-face.
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"OmegaPunchers" said:
So… after this and the previous EU write-up, I'm wondering: what exactly made the stuff written by Karen Traviss so divisive?
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"SkyeAuroline" replied to "OmegaPunchers":
Karen Traviss seriously does not understand the media that she writes for. Her Halo books constantly sidetrack into her railing against the parts of the Halo universe she doesn't like, and she stripped down a ton of characterization that was well-liked in favour of a creator's mouthpieces or pointless filler. On top of that, she was constantly f***ing up all the tech and political/social background of the setting. I'm less familiar with her Star Wars work (and only passingly familiar with her Gears of War work, on account of every fan I've encountered saying to stay away from it at all costs); but it's the same sort of phenomenon where she pushed the things she was interested in as the objectively best/correct parts of the setting, belittled anyone who didn't fit into that and warped existing lore to fit what she was pushing.
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"fnOcean" replied to "OmegaPunchers":
In addition to what the other commenter said about her pushing her interests and warping existing lore to fit that, her Mandalorian culture is... pretty racist and sexist. I re-found a post on Tumblr [currently preserved here: https://www.tumbex.com/notallthosewho-wanderarelost.tumblr/post/682272039920435200/] that talks about the issues with her series (and why the clones being Mandalorian doesn't make sense), but the TL;DR is: Traviss wrote Mandalorians as thinking every non-Mandalorian is soulless and needs to assimilate into their culture and forget their own, women are expected to get married at 16, women can't fight unless the men are all gone, and so on; portraying a society like this wouldn't be bad per se, but she also seems to think those are all positive things for a culture to be, and any changing that is bad.
On the non-writing side of things, I can't double-check this because I don't have Twitter, but her likes are apparently full of transphobia, COVID denial, and white supremacy, which definitely illuminates a lot about how she wrote the Mandalorians.
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"RadioactiveOwl95" replied to "fnOcean":
Despite having never read her stuff, everything I heard about her takes on the Mandalorians always gave me a bad vibe of fetishistic militarism that I couldn't quite put my finger on. Can't say her other views are too surprising in that light.
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"DocWhoFan16" replied to "RadioactiveOwl95":
"a bad vibe of fetishistic militarism"
You could make the case that the EU in general could sometimes be a bit... Well, let's look at it this way: at one time, the EU seriously countenanced the idea that Palpatine only created the Empire and set up an oppressive military regime which exerted its authority through terror because he wanted to make the galaxy strong enough to fight the Yuuzhan Vong, and there are many fans who embrace this idea even today.
I mean, leaving aside the fact that this kind of suggests the heroes from the movies were in the wrong for resisting the Empire in the first place, it's a bit like saying Adolf Hitler "only" set up Nazi Germany because he wanted to make Western Europe strong enough to fight the Soviet Union, isn't it?
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"iknownuffink" replied to "DocWhoFan16":
The way I remember it being talked about was that people like Thrawn were explicitly trying to make the galaxy orderly, unified and, most of all strong, enough to withstand their impending invasion. But Ol' Sheev Palpatine was still fully on the "It's all about me, and being cacklingly evil for funsies" train. He wasn't truly worried about the Vong, because he was arrogant and considered himself superior. Though it did provide another explanation for why there was always a new Secret Super-Weapon of the Week that Palpatine had his wrinkly hands in.
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"Inevitable_Citron" replied to "DocWhoFan16":
Oh man, the Yuuzhan Vong. That was a trip and a half.
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"wendigo72" replied to "DocWhoFan16":
I mean... Han Solo in the books of The New Jedi Order calls out that the “The Empire was good because of the Vong” idea was incredibly stupid.
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"ThunderDaniel" replied to "DocWhoFan16":
Oh man, I'm not even a Star Wars fan, but every time I hear nerds justify Palpatine's actions as being done to unite the galaxy against a future threat outside the Star Wars galaxy... Well, I kinda laugh knowing that they take it unironically. It feels like a revisionist cop-out that is so hard to believe in if you understood at all who the Emperor is in all the movies.
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"DocWhoFan16" replied to "Inevitable_Citron":
My understanding is the Yuuzhan Vong were the backup plan, because the original idea was that the extra-galactic invaders would be the Sith coming back to take some more revenge; George Lucas shot that down in the planning stages when ideas were sent to him for approval, arguing that it would be impossible for a Sith society to survive long enough to travel between galaxies because the Sith are inherently treacherous and any society they created would inevitably collapse when they destroyed each other and themselves.
Not an unreasonable position to take, though it is a little surprising, in light of this, that Tales of the Jedi, Knights of the Old Republic, Legacy, the MMO The Old Republic and Lost Tribe of the Sith were all allowed out when they all portray (mostly) functioning Sith societies!
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"DocWhoFan16" replied to "wendigo72":
Sure, but it doesn't stop Star Wars fans from taking the idea at face value, does it?
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"DocWhoFan16" replied to "ThunderDaniel":
Same deal with Grand Admiral Thrawn, to be honest, though at least Thrawn doesn't have the whole "obviously evil space wizard" thing going on. Even so, I sometimes feel like cheering on Grand Admiral Thrawn is a bit like cheering on Claus von Stauffenberg or Erwin Rommel, you know what I mean?
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"GoneRampant1" replied to "OmegaPunchers":
Her Mandalorian books involved a lot of... How do I put this nicely...? Wanking of the Mandalorians and shunning the Jedi by painting them in an unflattering light. Traviss wore her biases on her sleeves and would warp canon in order to have her mouthpieces talk about how the Mandos could totally beat the Jedi in the battleground of ideas using superior Facts And Logic.
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"moorlu" replied to "GoneRampant1":
The Legacy of the Force series really showed her single-mindedness regarding the Mandalorians. They cycled between authors for every book, and while the other two would leave Mandalore behind, you could rest assured that the next Traviss book would take us straight back there to show us how flawed the Jedi were and how the Mandalorians were the only hope to save the galaxy from Darth Caedus. It got tiresome fast.
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"ReverendDS" replied to "OmegaPunchers":
To preface this, I'm a huge Star Wars nerd and have been my entire life. I've read every book multiple times (seriously, every few years I re-read the entire Star Wars chronology), I've played every game, I've watched every episode of everything. And I've been doing this for nearly 40 years. And I'm a huge Republic Commando fan and won't try to hide my bias in this regard.
The first part of the drama is that Karen Traviss, in everything she writes — in any IP she writes for, sticks to a very "things like morality aren't black and white, they are muddled and gray and shifting" approach and constantly calls out things that are objectively evil — even when the intentions are pure or for the good of all.
Unfortunately, most audiences don't have the emotional maturity to deal with things like nuance or to be able to approach a fictional work and pick up more than the most obvious and subtle-as-a-brick-through-a-window of themes.
Karen Traviss used the extremely egalitarian society of the Mandalorians to train the clones of the Grand Army of the Republic, and then further used that society to point out the inherent wrongness of the Republic and the Jedi of that time.
None of her characters are "good" people, and she doesn't shirk from showing that and the consequences of it. But they try to do right by their code, which can put them at odds with the trite "good vs evil" that is so prevalent.
She called out a lot of the hypocrisy of the Jedi, often with the blunt hammer of having Jedi characters being the ones to face the decisions and make the choices.
Due to the audience's aforementioned lack of emotional maturity, she was labeled a "Jedi hater", despite the fact that two of her characters, as Jedi, are some of the best examples of the Jedi philosophy out of any other characters that exist in universe.
She does have pieces of her books that could be interpreted as problematic, but to be honest, I've never particularly cared if there are themes and situations in a fictional universe that would be problematic in the real world — my experiences growing up have shown that way f***ing worse happens in the real world on a daily basis.
People call out the early-twenties Jedi woman sleeping with and being impregnated by the chronologically ten-year-old clone, like it's some kind of endorsement of pedophilia, instead of reading what was actually on the page and realizing that the ten-year-old clone was being treated like a full fledged adult by the military and Jedi. You can't have it both ways, and Karen Traviss used that situation (and the surrounding context) to highlight the fact that despite being literal brainwashed child soldiers, the clones that made up the GAR were also adult men and had their own passions and desires, and how utterly insanely evil it was to treat them like wind-up soldiers.
Yes, her books are often set in extremely popular IPs, and she uses her books to point a huge mirror at the universe she's writing in.
The second major problem is that Karen Traviss engaged with the public and happened to be a woman. A lot of the Karen Traviss hate at the time was coming from the same folks (and type of folks) that jumped into GamerGate with both feet.
I'm not saying that all criticism of her and her work stems from this, but most of the criticism you'll ever see about her does, present-day Twitter stuff excluded as I've not kept up with her on that front. It's very similar to some of the more prevalent hate of the Sequels. Sure, there's some legitimate criticism in there, but a lot of it is covered up in a weird misogynistic wrapping.
And the third part is, much like a lot of the Twilight hate, the vast majority of the online critique comes from people who haven't even bothered engaging with the media in question. They are primarily regurgitating the criticism of others but haven't actually read it themselves.
Hell, even on Star Wars subreddits or even people I know in offline life; and I acknowledge that it's purely anecdotal, but from the people I've talked to about it, when they lay into the Traviss hate, they haven't actually read anything she's ever written. At best, they've read a couple of snippets that include a hundred words or so, used by some Tumblr post to "prove" something while ignoring the wider point.
So yeah, is she the best author in the world? No. Did she do more to flesh out the characters and drama of the Clone Wars in a mature and nuanced way? F*** yeah, she did. Is she outspoken about her contributions to the universes that she criticises when she writes for them? Yeah.
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"superfam" said:
"Likewise, I also recall a lot of particularly pronounced ill-feeling among Star Wars fans towards a new main character the show was going to introduce, a young female Jedi learner named Ahsoka Tano, who would end up being accused of being too perfect, too powerful and, you guessed it, a Mary Sue."
Ahh, Star Wars fans and misogyny, a tale as old as time.
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"VortixTM" replied to "superfam":
This is ironic, considering that, in the Original Trilogy, while barely 2 women exist in the galaxy, one of them is a badass princess who ends up mostly rescuing herself despite the heroes, and the other was the freaking leader of the Rebel Alliance.
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"Mike_Ropenis" replied to "superfam":
I was a huge Star Wars fan because of the Original Trilogy and the EU novels, and lukewarm on the Prequels. After Disney, I'm not a huge fan of the Sequel Trilogy, but I think Rogue One was awesome and casting is the only thing they got right in the Sequel Trilogy (Driver, Ridley, Isaac, Boyega, Gleeson... Amazing cast).
I piss off a lot of people whenever I say this on Reddit, but Luke Skywalker is basically a male Mary-Sue — he literally blows up a Death Star the first time he flies a starfighter in a vacuum — like... Ok, he flew T-16 on Tatooine so he's able to navigate the Death Star trench the first time he flies an X-Wing in space? LOL. And Anakin pulls the same shit in The Phantom Menace! A ten-year-old who pod-raced on Tatooine is suddenly an expert pilot against an army of droids.
Like... The whole series is a bunch of overpowered plot-armoured main characters. Either you love all or you hate all, but picking and choosing which are unrealistic and which aren't is embarrassing and often comes from a sexist place.
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"diluvian_" replied to "Mike_Ropenis":
Capable, powerful, or gifted characters do not constitute a Mary-Sue.
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"Mike_Ropenis" replied to "diluvian_":
I mean, I essentially agree — either all those characters are, or none of them are. I just think it's funny that some loud fans think only the female characters are.
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"ToaArcan" replied to "Mike_Ropenis":
It's a term that's lost all meaning, it basically just means "Female character that I dislike" now.
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"Dayraven3" replied to "ToaArcan":
Seems to me that when the emphasis was on the character being an author-identification figure, it got applied quite freely to either gender. The shift to meaning ‘too perfect’ was accompanied by the term becoming strongly sexist.
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"UnsealedMTG" replied to the 1st reply of "Mike_Ropenis":
What are you talking about? How could the character of Luke Skywalker possibly be some sort of power fantasy self-insert in a series created by George Lucas? That's absurd!
(More seriously, I think this is a great illustration of how the concept of a "Mary-Sue" makes sense in fanfiction, where it originated: the idea that a story is being warped around a self-insert OC that solves all the problems and Kirk and Spock both fall in love with — to the point where it seems pointless for anyone other than the author. In original fiction —where the main character is the main character—, there is no similar objection. But if George Lucas were to write Star Wars as a fanfic for a serious space fighter pilot show, Luke would be the Maryest of all possible Sues.)
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"Dayraven3" replied to "UnsealedMTG":
I guess it's generally more of a glaring issue in fanfiction, but I'd say it's still quite possible in original fiction to have a blatant author identification figure who's pointless for anyone else.
Or, to put it another way, I’ve read some of Robert A. Heinlein's later novels.
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"Smoketrail" replied to the 1st reply of "Mike_Ropenis":
"I piss off a lot of people whenever I say this on Reddit, but Luke Skywalker is basically a male Mary-Sue [...]"
If you really want to upset hardcore Star Wars fans, say that about Thrawn.
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"balinbalan" replied to "Smoketrail":
Thrawn's abilities are almost magical and I'm surprised the old EU didn't make him force-sensitive, since virtually anybody with any competency ended up becoming a Jedi.
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"blisteredfingers" replied to the 1st reply of "Mike_Ropenis":
"Either you love all or you hate all, but picking and choosing which are unrealistic and which aren't is embarrassing and often comes from a sexist place."
This is exactly what we're seeing now with the Obi-Wan TV series and Moses Ingram, who plays Reva: people are saying her doing jumps and flips is "too unrealistic"; meanwhile, she's hunting down f***ing Obi-Wan, who's having PTSD flashbacks of his own jumpy & flippy fight with Anakin from Revenge of the Sith.
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"AndrewTheSouless" replied to "superfam":
Ok, but to be fair, she did kinda suck at the beginning, like "you go back to the early seasons and think '¿Oh shit, was I just blinded by nostalgia'" kind of bad.
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"DisserviceToVanilla" replied to "AndrewTheSouless":
Also, to be frank, I didn't watch the show, but my friend did and we would watch the "behind the scenes" videos put online with showrunners and others talking whenever they were especially ridiculous. The only one I really remember is one where the guy thought Ahsoka cutting a square instead of a circle in a wall with her lightsabre to break in somewhere was the height of intellectuality, and I'd swear he'd had an edible before that interview...
So, I think that's where early Ashoka was coming from, LMAO.
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"ToaArcan" replied to "AndrewTheSouless":
I kinda like that she started out a little bratty and impulsive, and matured rapidly over the course of the first couple of seasons. Her development is one of the high points of the show.
I do find it extremely funny that the same people that were calling her the worst character ever back when the show started are now among the stans. Like... I saw very few people complaining about how much Season 7 focused on her.
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"mdp300" replied to "ToaArcan":
I hated Ahsoka at first. Not because she was a girl, but because she was this plucky teenager that seemed like she was only there to appeal to tweens, and I was watching the show as a Very Serious Adult (I was like... 23 and an edgy moron).
By the end of the series, Ahsoka was one of my favourite characters in the whole franchise.
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"Silas13013" replied to "superfam":
They ended up being completely right though, at least for Season 1. I only recently got into Star Wars and watched The Clone Wars all the way through, and it was only at the insistence of my friend that I got past Season 1. Ahsoka is an arrogant brat who is good at everything without trying and a constant source of irritation for everyone around her, including the audience.
The creators took this criticism to heart and completely reconstructed Ahsoka's character in Seasons 2 and 3. She learns patience, composure and respect. She experiences loss due to her own actions which get characters killed, and grows from it. She becomes confident, not arrogant, and eventually a teacher herself, and in my opinion, goes from being the worst character in the show to the best.
Someone else compared her to Anakin and Luke and I feel the comparison is really only relevant to Anakin. People weren't upset that Ahsoka was a Mary-Sue, they were upset that she was an annoying Mary-Sue. Same reason baby Anakin is hated: he's an irritating child. Luke is at least likeable and we want him to succeed. Young Anakin could splat against the wall for all I cared about him.
(Note this is only for people who watched the show. People who made up their minds before seeing it are butts.)
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"FonzyLumpkins" replied to "superfam":
Saying the hate for Ashoka in the initial Clone Wars movie is sexism for a terribly written and annoying character is disingenuous. People loved her when she was actually written well. She was really annoying at first impressions, and it wasn't until later works that she actually had a personality where she became awesome.
The hate for Anakin having the personality of cardboard in Episode II, was that sexism as well?
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"Stanakin__Skywalker" replied to "FonzyLumpkins":
The biggest problem with Ahsoka is, and always has been, that she was way too important a character to retroactively insert into the saga. It makes zero sense that Anakin would have a padawan, who is never even alluded to in the movies and did not appear in any of the dozens of Clone Wars stories that existed at the time. She could not reasonably exist in the established Star Wars universe. That is why EU fans hated her so much, not because they were all bigots.
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"InSearchOfGoodPun" replied to "Stanakin__Skywalker":
Well, it's still happening with The Mandalorian, right? She seems like kind of an important person to have sat out all of the events of the Original Trilogy and never be mentioned here (there is probably some dumb excuse they'll make for this, but it's beside the point). This is the problem with trying to create so much content that orbits a "main" storyline (all nine movies) but cannot actually directly interact with the main storyline. The whole project often feels like Gilbert & Sullivan Are Dead!, except it's not a joke.
Edit: there is a ridiculous title mistake above, but I will leave it for humour value.
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"TiffanyKorta" replied to "InSearchOfGoodPun":
The whole project often feels like Gilbert & Sullivan Are Dead!, except it's not a joke.
I think you mean Tag & Bink Are Dead! (though you're probably thinking of Rosencrantz & Guildenstern).
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"Quintaton_16" replied to "Stanakin__Skywalker":
There's only one movie that could even allude to it, which is Revenge of the Sith, and the fact that she's not mentioned there only establishes that she probably isn't his padawan anymore by that time. Something The Clone Wars in no way contradicts.
Also, saying that you can't introduce a new, dynamic, interesting character because her appearance would contradict some tie-in comic is, in my opinion, a much better argument for nuking the idea of canon than it is for hamstringing your own ability to tell a story.
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"jaimeoak" said:
Thanks for sharing this wonderful insight into the war of the Clone Wars and the fickle nature of Star Wars canon :D
I came into star wars fairly recently, and after watching the 6 main films which were out at the time, my next watch was the 2008 Clone Wars series. It is honestly one of my favourite shows and I love its mix of character & political stories. (Although I suppose I do also prefer the Prequels over the Original Trilogy. Scandalous, I know!)
In all fandoms with "official" novelisations/comics, I've always presumed that the stories are officially commissioned but non-canon fanfiction which is just there to serve as extra content for fans to consume — I'm always surprised when they do turn out to be canon.
The Star Wars EU seems so grand it's hard to tell where to start, but I look forward to eventually making my way through it and experiencing the stories involved — With the passion people have for it, there must be some great stuff!
Thanks again for the write-up, it's a really interesting piece of fandom history!
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"page0rz" replied to "jaimeoak":
The Star Wars EU has 3 (well, 4, maybe 5?) pretty distinct eras to go through: the original Del Rey books, which are just classic space adventures starring Han Solo & Chewie or Lando and have basically nothing to do with the Star Wars canon; then, the Bantam Spectra era starting in the 90s, which is what most older fans think of as the EU, and then the Del Rey era when they picked up in the 2000s, which is The New Jedi Order and the Clone Wars
The most important distinction is that, during the Bantam Spectra era, Star Wars was just a book license. Any author was free to make a pitch to the publisher for basically their own OC that could take place at any time (except the Clone Wars) and involve any characters, with no real mandate to collaborate with other authors or their canon. Most tried to anyway because they thought it would be cool, but it's still haphazard. Someone would write a book that takes place 5 years after Return of the Jedi, then someone else would write something set 12 years later, then another person would start inserting stuff in-between or go off in a totally new direction. It got weird and messy all the time, but there's still some worthwhile pulp in there.
When the license changed hands again, Lucasarts took up a role that predicts modern EUs. Instead of having authors pitch ideas, they had editors create a long-term narrative, then hired individual authors to write books around each major beat.
Honestly, if you want to dive into the non-Clone-Wars stuff, I think it works best to look at the Bantam Spectra run as a loose introduction series, then the later series (particularly The New Jedi Order) as a crossover event. That's how the publishers went about it, as The New Jedi Order really did pull from all corners to create something "big", digging out some real deep cuts while trying to use everything from before in some way. The overarching narrative also helps them avoid the "Super-Weapon of the Month" problem that the other books had because everyone wanted to use their own personal toys and OC villains.
I think a lot of people will tell you to just stop after The New Jedi Order, to avoid that Han Solo Syndrome, but that's obviously up to you.
I picked up a trunk (literally) of Star Wars novels once and had a lot of time on my hands.
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"ToaArcan" replied to ""page0rz:
What's the "Han Solo Syndrome", exactly?
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"page0rz" replied to "ToaArcan":
Han Solo was originally meant to die, but producers didn't like losing one of their stars, so he finishes his character arc and then just awkwardly hangs around without much to do. This is an unfortunate fate for many Star Wars characters, as The New Jedi Order was supposed to be an end to the original generation, handing things off to the kids, and Luke especially had this growth and change over a dozen books, leading up to a very satisfying final act, while Han and Leia effectively fly off into the sunset together.
But because the license holders wanted more books and they thought the only way to sell them was by putting the original trio on the covers, they all had to keep hanging around in every new series "just because", cheapening their arcs and drawing attention away from the new characters.
The same thing happened when they eventually made the Sequel movies. Harrison Ford only agreed to come back at all if they would finally kill Han off like they were supposed to do in the first place.
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"iknownuffink" replied to "page0rz:
"Han Solo was originally meant to die, but producers didn't like losing one of their stars [...]"
If I remember correctly, Lucas is also on record saying he wanted a more positive/happy ending for the Original Trilogy, and killing Han would have been counter to that and made it more bittersweet (which Harrison Ford and possibly the director were pitching).
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skytalkerspodcast · 1 year
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Willow & Lucasfilm’s Exploration into Fantasy
Caitlin and Charlotte take a dive into the magical world of Willow!
Caitlin and Charlotte take a dive into the magical world of Willow! First, they share their premiere experience, fresh off a quick trip to LA. In part one, we go over the production history of Willow (1988) and talk about some of Lucasfilm and George Lucas-isms that are present in the original film. In part two, we talk about all the facets that we love about Willow (1988). In part three, we dive…
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hyperfanpod · 1 year
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The gang talks about the first three episodes of Andor. Cork loves the sets and costumes. Marika is interested in where Fiona Shaw's character is going. Bret is making video game connections. Listen to "Andor: The Premiere Arch" at https://www.buzzsprout.com/1371367/11512292-andor-the-premiere-arch
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groundrunner100 · 5 months
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themagicfolf · 9 months
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Star Wars, George Lucas, and Revision.
Written by: Stella Cox (@themagicfolf)(u/TheMagicFolf331) Synopsis A young man name Luke Sky Walker is dragged into a galactic Civil War after meeting two droids on a mission to deliver information to help the rebellion destroy a super weapon. Through this adventure he meets allies who help him through the journey, But will he make it to the rebels with the data intact or will the insidious…
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actual-haise · 1 year
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prokopetz · 7 months
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To be fair, this isn't the first time that Star Wars has been fucking omnipresent. There was a time back in the 1980s when there were Star Wars comics on every newsstand and a bunch of weird spin-off movies about Ewoks and two separate, concurrently airing Saturday morning cartoons and a licensed tabletop RPG you could buy in mainstream bookstores (which incidentally ended up accidentally creating like two thirds of the Expanded Universe because George Lucas couldn't be arsed to produce a setting bible and just gave writers copies of the RPG instead, and the RPG didn't distinguish between the bits that had actual sources and the bits it made up to pad its sourcebooks). The difference is that there was no real centralised oversight and most people involved had very little idea of what they were doing, and as a result, nearly all of the Star Wars material that emerged from this era was deeply, deeply stupid. I think that's what the present state of affairs is missing.
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dathomirdumpsterfire · 5 months
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(surely this has already been done, but i could not find it, so i had to make sure it existed. -dathomirdumpsterfire)
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stevenrogered · 1 year
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THE MANDALORIAN 3x02 | "Chapter 18: The Mines of Mandalore"
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alasforher · 9 months
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“A royal and a rebel, arms around each other.
He snaps a photo on his phone and fingers shaking, types out a tweet: Never tell me the odds.”
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ohyousillything · 10 months
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Boba is small and obnoxious, in a way only small tubies can be, squirming and thrashing around in his crib as he wails. He’s been told that Boba is denominated “a toddler”, by nat-born standards. CC-2224 is not impressed.
“What does the word ‘Boba’ mean,” he asks. The word has been bothering him for some time now.
Jango doesn’t raise his eyes from the datapad he’s frowning at, “It’s an old family name.”
CC-2224 considers this. Boba continues to wail at the injustices of the world. CC-2224 is sympathetic to that, at least.
And then the question pops in his head like an armed grenade.
“Can I have a name?” he asks.
Jango looks up at him, both eyebrows raised up to his hairline. There's a considering silencie, and then he says, like he's already regretting it, “You could.”
CC-2224 stares at him expectantly. Boba wails, mostly ignored.
Jango snorts and shakes his head, letting his attention fall back on his datapad, “You’ll have to come up with one on your own, kid. I’m shit at naming things,”
CC-2224 frowns, looking down at Boba, who’s finally beginning to realize no one paying much attention to his crying and he might need to adapt his strategies.He makes grabby fingers at CC-2224, who watches impassively.
Making an impulsive decision, he reaches into the crib and pulls the baby out, holding him at eye level like a hide up for inspection.
“I like the word kote,” CC-2224 says.
“Very modest,” Jango snorts, but he sounds approving. Newly christened Kote thinks he wasn’t looking for approval, but its nice getting it anyway.
Boba sneezes on his face, and the universe shifts.
Kote's never seen the sun, but someday he'll understand this moment feels like sunrise.
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mashounen1945 · 9 months
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An interesting Star Wars history essay I saw on Reddit (yes, really)
[Star Wars] The Rise and Fall of the Expanded Universe: How Disney's buy-out of Lucasfilm brought a 22-year era to an end, and split sci-fi's biggest fandom in half.
Posted originally by the Reddit user "TheMightyHeptagon" on February 23rd, 2022.
[Link to the original post: https://www.reddit.com/r/HobbyDrama/comments/szvovy/star_wars_the_rise_and_fall_of_the_expanded/]
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How did we get here?
Unless you've been frozen in carbonite for the last decade, you've probably noticed that Star Wars is currently bigger and more ubiquitous than it's been in a very long time. You also probably know why that is: the Walt Disney Corporation bought the rights to the franchise in 2012, and Disney subsequently reignited the series by producing a 7th, 8th, and 9th episode—which seemed nearly inconceivable when the prequel trilogy concluded back in 2005. And you've also probably noticed that the Star Wars fandom is (to put it mildly) a bit divided at the moment. For various reasons, the various Star Wars films and TV shows of the so-called "Disney era" have their fair share of both supporters and detractors, and some recent works are more widely beloved than others.
But that's not what I'm here to talk about today.
If you're a relatively casual Star Wars fan who's generally just content to watch the movies (and there's nothing wrong with that), you might not realize that Disney's buy-out of Lucasfilm in 2012 was also effectively the end of an era for the franchise; the effects of that are still rippling through various Star Wars works to this day, and many fans still have strong feelings about it.
So why is it so hard to talk about Star Wars these days without getting into an argument? Why did the Disney buy-out start hundreds of online screaming matches back in 2012 before Disney even released a single film? And what does it all have to do with the European Union?
To answer that last question: absolutely nothing.
See: when a Star Wars fan talks about "the EU", they're probably talking about the "Expanded Universe". So... what's the Expanded Universe?
"A short time ago, in a sci-fi section not so far away..."
The short version:
In the context of the Star Wars franchise, the "Expanded Universe" is a loosely connected series of officially licensed Star Wars works released in various artistic mediums other than live-action films, which provide information that isn't in the movies that make up the core of the franchise.
Technically, the Expanded Universe is the same world as the Star Wars universe—or rather, it was until Disney declared that it wasn't anymore (but we'll get to that).
More broadly speaking: in modern fandom discourse, the term "Expanded Universe" generally refers to works in a popular franchise released in a different medium than the works that initially made the franchise famous, which may or may not be considered part of the franchise's "official" canon. It's most commonly applied to franchises that began as movies or TV shows, where particularly devoted fans might eagerly consume novels or short stories or comic books featuring their favorite characters while awaiting the next episode or installment.
In general, such works tend to act as a supplement to the main story, and they serve to expand the story beyond its primary medium (hence "Expanded Universe"). When writing such works, however, creators generally avoid writing particularly dramatic or pivotal plot turns that would drastically affect the world of the story—since that might alienate relatively casual viewers who don't necessarily have the time or the inclination to hunt down every work in a popular franchise, and the creators generally don't want to make those casual viewers feel like they're missing out on important plot points.
For a while, the Star Wars franchise was famous for being especially prolific in that regard, which probably shouldn't come as much of a surprise. After all: the Star Wars films are set in a whole fictional galaxy filled with hundreds of unexplored planets, and they're brimming with enigmatic references to thrilling events that the audience never sees. The world that George Lucas created is the perfect playground for sci-fi writers.
But when sci-fi fans talk about the "Star Wars Expanded Universe" (or "the EU" for short), they're usually specifically referring to a series of novels published by Bantam Spectra and Del Rey Books (and a few comic books published by Dark Horse Comics) between 1991 and 2013.
So what was it about that 22-year period that made it such fertile ground for Star Wars stories?
Well, that's where it gets a little complicated...
"We seem to be made to suffer. It's our lot in life..."
According to most accounts, the Star Wars franchise has a bit of an odd history because George Lucas' plans for the series were in a constant state of flux for nearly all of his career. Originally, he didn't even plan on Star Wars being a series at all: he just wrote a single screenplay, but had to drastically cut it down at the studio's behest when it turned out to be way too long for one movie; conveniently, that left him with plenty of material for two more movies when the first film turned out to be a surprise hit, and the studio expressed interest in sequels.
And once he started to make plans for continuing the story after the Original Trilogy, he similarly waffled on how many more movies he wanted to make: some sources claim that he wanted to make a full nine movies (or possibly as many as twelve) before the arduous production of The Empire Strikes Back convinced him to trim it down to just six. Even after that, Lucas still considered taking a crack at making his own Sequel Trilogy a few times after the Prequel Trilogy wrapped, and he didn't completely give up on those plans until shortly before the Disney buy-out. Some plot points in Disney's sequels, in fact, were supposedly based on Lucas' own story notes.
But by the early 1990s, Lucas finally seemed reasonably sure that the Star Wars prequels (which were in pre-production at the time) would be the last Star Wars films, ending the series at six movies. Some fans didn't take that news well—at all.
On one hand: the original Star Wars trilogy does tell a more-or-less complete story with a beginning, middle, and end. On the other hand: it also sets up some rather intriguing questions that easily could have been the basis for a whole new saga.
Did another Emperor rise to power after Palpatine died? Did the Rebels win the war? Did Luke become a Jedi Master? Did he ever train an apprentice of his own? And if the Rebels did win the war, how did our heroes handle the responsibilities of running the galaxy? And did the Jedi ever make their glorious return?
Understandably, some fans were bummed that those questions (and dozens more) might never be answered, and they were really bummed that they might never meet the next generation of Jedi.
With all that in mind, you can imagine why it was a really big deal when fans suddenly learned that there would be a new chapter in the saga of Star Wars after all.
No, I'm not talking about when Disney announced the release of The Force Awakens in 2015. This is a different chapter in the story of the Star Wars franchise—and it begins well over two decades before Finn, Rey, Poe Dameron, Rose Tico and the rest of the gang ever saw the light of day.
See: by the late 1980s, the Star Wars franchise was facing an uncertain future. Once the Original Trilogy wrapped up in 1983, and nobody knew exactly when a new trilogy might make its way to theatres, it seemed entirely possible that Star Wars was finished for good. Sure, Lucasfilm managed to tide young fans over with a pair of made-for-TV films in 1984 and 1985 (both of which were inexplicably all about Ewoks), and a couple of Saturday morning cartoons (one of which was... also all about Ewoks) that both ended in 1986. Even Marvel Comics' popular Star Wars comic book series was cancelled in 1987 after running for a full decade. After that, Star Wars basically went into hibernation. There's a reason why the final years of the '80s are sometimes jokingly called "The Dark Times" by fans.
And then, in the dim twilight of the 20th century, something happened.
"Never tell me the odds!"
The year was 1991. The Soviet Union had just collapsed, Boris Yeltsin had just become the first President of Russia, Nelson Mandela and the African National Congress were negotiating an end to the Apartheid in South Africa, CERN scientists had just unveiled "The World Wide Web", Michael Jordan and the Chicago Bulls had just won their first NBA Championship, The Simpsons was on its second season, Nirvana had just achieved mainstream superstardom with Nevermind, Will Smith was still the star of The Fresh Prince of Bel-Air, the Golden Age of Hip-Hop was in full swing... and there hadn't been a new Star Wars movie in theatres for nearly a decade.
And then the news broke: Lucasfilm had just reached a deal with venerable science-fiction publisher Bantam Spectra, allowing them to publish an officially licensed Star Wars novel written by Hugo-nominated author Timothy Zahn, widely considered to be a rising star in the world of sci-fi literature.
On its face, the simple existence of a Star Wars novel wasn't that big a deal. After all: Lucasfilm had been allowing the publication of tie-in novels since the 1970s, when they hired prolific sci-fi writer Alan Dean Foster to write the novelization of the original film, and later tapped him to write the original Star Wars novel Splinter of the Mind's Eye (which was based on a proposal for a low-budget Star Wars television film that never got made). There were also a handful of pulpy sci-fi adventure novels in the '80s following the adventures of Han Solo and Lando Calrissian before the timeframe of the movies. So what was so special about this book?
Simple: unlike every other Star Wars novel published up to this point, this one was going to take place after the epic conclusion of Return of the Jedi. In fact, it was going to skip forward a full five years after the deaths of Darth Vader and Emperor Palpatine—because it was going to be all about the beginning of a whole new era in the history of the Star Wars galaxy following the Rebels' pivotal victory at the Battle of Endor. Instead of telling the story of a plucky band of outmatched rebels striking a desperate blow against the forces of tyranny, this story would portray Luke Skywalker, Han Solo, and Leia Organa as the idealistic leaders of a reborn Republic locked in an epic power struggle with a resurgent Galactic Empire.
Even better: the novel was going to be the first in a trilogy of novels. And in a time when many fans had given up hope that they ever get to see a 7th, 8th, and 9th episode on the big screen, that was exactly the kind of news that they'd hoped for. At long last, fans were going to get to see the next chapter of the Star Wars saga—and absolutely anything could happen.
Within a few weeks, Timothy Zahn's Heir to the Empire shot to the top of the New York Times Bestseller List as fans across America rushed to their local bookstores to grab a copy. And within the first few pages, they were introduced to the story's new antagonist. His name was "Thrawn"—and in nearly every way imaginable, he was the complete antithesis of everything that fans had come to expect from a Star Wars villain.
Instead of a sinister Sith Lord dressed in a dark hooded cloak or a fearsome suit of black armour, he was a Grand Admiral in the Imperial Fleet dressed in a crisp white naval uniform. He was also an alien (specifically: a member of a newly introduced species known as the "Chiss"), instantly identifiable by his striking bright blue skin and glowing red eyes. Instead of relying on the vaunted power of the Dark Side, he was determined to best our heroes through good old-fashioned ingenuity and cunning. Instead of brutality, he relied on his strategic genius. And instead of earning the obedience of his men through fear and intimidation, he inspired their loyalty through his unmatched charisma—which made it easier for some fans to root for the Empire without feeling too guilty. To this day, Grand Admiral Thrawn remains one of the most popular characters ever to come out of a Star Wars work, and his fans love him just as much today as they did in 1991.
But with every new chapter, the story introduced more twists and turns, taking every opportunity to flesh out the world that fans had come to love. Readers got to see Chewbacca's home planet of Kashyyyk for the first time (since everybody knows that the Star Wars Holiday Special never happened), they got to meet the slippery information trafficker Talon Karrde, they got to see the galactic capital of Coruscant for the first time (the name "Coruscant" originated in the book, in fact), they got to see a clone for the first time in an official Star Wars work, and they even got to meet Emperor Palpatine's alluring Force-sensitive personal assassin Mara Jade—who was teased early on as a potential love interest for Luke.
(Yes, Luke finally got a love interest who didn't turn out to be his sister. It was pretty exciting at the time.)
All of those thoroughly intriguing ideas (and many more) kept fans hooked all the way through Heir to the Empire and its two sequels Dark Force Rising (released in 1992) and The Last Command (released in 1993). Those three books, retroactively titled "The Thrawn Trilogy", helped push the Star Wars franchise back into the cultural spotlight for the first time since the halcyon days of the Original Trilogy, and they showed that demand for a new series of adventures was just as strong as ever.
But were they any good?
Honestly, most fans will tell you that the answer is a pretty resounding "Yes". The Thrawn Trilogy managed the difficult task of feeling like an authentic entry in the Star Wars saga while fearlessly exploring the aftermath of the movies. It had memorable new characters and thrilling action sequences, it explored poignant themes, and it combined a genuine reverence for the films with an earnest desire to build on them.
The Thrawn Trilogy wasn't a perfect story—but in the areas where it delivered, it delivered big. And even though George Lucas wasn't personally involved in writing its story, he took its success as a sign that audiences were eager for more Star Wars movies. According to some accounts, it was the success of the Thrawn Trilogy that convinced Lucas to fully commit to making the Star Wars prequels. So if not for those three novels, Star Wars might never have returned to theatres.
But as fans soon discovered: the Thrawn Trilogy was just the beginning.
"This is where the fun begins!"
Around the time that Heir to the Empire came out, Lucasfilm also reached a deal with comic book publisher Dark Horse Comics, allowing them to publish officially licensed Star Wars comic books. Thanks to that deal, Dark Horse's officially licensed Star Wars miniseries Dark Empire also hit shelves in 1991, becoming the first new Star Wars comic book since the cancellation of Marvel Comics' Star Wars series in 1987. Telling the story of Han, Luke, and Leia battling a resurgent Galactic Empire commanded by a resurrected Emperor Palpatine, it also jumped headfirst into exploring the aftermath of the movies, officially taking place one year after the Thrawn Trilogy.
Meanwhile: Bantam Spectra, eager to build on the success of the Thrawn Trilogy, soon contracted a murderer's row of prolific sci-fi novelists to churn out even more novels exploring the aftermath of Return of the Jedi.
And then, well... Then the dam broke.
Between 1991 and 1999, Bantam Spectra published nearly three dozen Star Wars novels. And that's just the novels aimed at adults; if you count the ones aimed at teenagers and young readers (and there were a lot of them), the full tally is closer to five dozen. And if you also count the numerous comic books published by Dark Horse during the same period, it's even more. The sheer number of Star Wars works to come out of that decade is honestly kind of awe-inspiring, and even the most ardent fans often have trouble keeping them all straight.
There was The Courtship of Princess Leia, which told the full story of how Han and Leia got married. There was Crimson Empire, the story of a former Imperial Guardsman on a mission of revenge against his treacherous former comrade. There was the Jedi Academy trilogy, which told the story of Luke training his first Jedi apprentices. There was The Corellian Trilogy, where we finally got properly introduced to Han's home planet. There was the X-Wing series, where we got to follow the continuing adventures of the brave pilots of Rogue Squadron. There was the Black Fleet Crisis trilogy, where we got to meet Chewbacca's family for the first time (since everybody knows that the Star Wars Holiday Special never happened). There was Shadows of the Empire, where we learned the full story of what happened between The Empire Strikes Back and Return of the Jedi. There was the Young Jedi Knights series, where we got to follow the adventures of Han and Leia's children as they studied the ways of the Force under their uncle Luke.
... There were a lot of freakin' books, is what I'm saying.
So were they any good?
Well... That question's a little harder to answer. Most fans agree that the Thrawn Trilogy started the Expanded Universe off with a bang, but the general consensus is that the subsequent novels and comic books varied wildly in quality. Some were good, some were decent, some were tolerable, and some are widely agreed to be just plain God-awful. To reiterate: Bantam Spectra and Dark Horse published nearly five dozen of the damn things in the 1990s alone, and they were written by a rotating stable of more than a dozen different authors. It shouldn't be too surprising that not all of them were equally great.
But regardless of how good they might have been, they succeeded in bringing about a massive resurgence of interest in Star Wars, which paved the way for the saga's return to the big screen 16 years after Return of the Jedi. The original film may have been a product of the late '70s, and "Star Wars mania" arguably reached its peak in the early '80s, but the franchise's renaissance in the '90s was nothing to sneeze at.
Little by little, the novels exploring the aftermath of Return of the Jedi had blossomed into a vast and epic saga in their own right, with their own expansive cast of characters and their own vast array of original concepts. Fans came to call that saga "The Star Wars Expanded Universe"—or "The EU" for short. By the end of the '90s, the EU had gotten so big that its timeline officially covered more than 15 years worth of stories set after the original Star Wars trilogy. To put it in perspective: the original Star Wars trilogy itself (as epic as it might be) only takes place over the course of about four years. So in effect, the Expanded Universe had grown even bigger than the film series that it was based on.
You probably know what happened after that:
The Phantom Menace hit theaters in 1999, officially kicking off the much-anticipated Prequel Trilogy. It was followed by Attack of the Clones in 2002 and Revenge of the Sith in 2005.
And yet, even as the new movies were hogging most of the attention, the novels just kept coming.
In 1999, the same year that The Phantom Menace made its way to the multiplex, famed sci-fi publisher Del Rey Books (who'd published the first Star Wars novels in the '80s) reclaimed the license from Bantam Spectra. With the publishing rights to Star Wars in hand, the company kicked off the biggest and most ambitious project that the Star Wars Expanded Universe had ever seen: a massive 19-book epic called The New Jedi Order, which told the story of a full-on invasion of the Star Wars galaxy by a hostile race of aliens from another galaxy beyond the Outer Rim. It continued the ever-evolving story of the Expanded Universe, steadily moving its timeline further into the future.
The New Jedi Order was a huge story that saw the deaths of numerous longtime characters and the permanent transformations of many more, and it took the Expanded Universe into progressively bolder and stranger territory as it continued to diverge from the movies. But as imaginative and ambitious as it may have been, it was also one of the most divisive series in the history of the Expanded Universe up to that point, with many instalments getting a tepid reception at best. The series reached its conclusion in 2003, just two years before the Prequel Trilogy concluded in 2005 with Revenge of the Sith. And yet, just as the entertainment press was reporting on the "end" of Star Wars, it soon became clear that the continuing story of the Expanded Universe was still far from over.
Yep: the novels just kept coming.
By 2006, when Del Rey unveiled a new nine-book series called Legacy of the Force, the timeframe of the Expanded Universe had reached a point more than three decades after the events of the movies. By this point, the core trio were well into middle age, Han and Leia's children were nearly twice as old as Luke was in the original Star Wars, and the war between the Rebel Alliance and the Galactic Empire was a distant memory. Out in the real world, the Expanded Universe had been running more-or-less continuously for 15 years, but book sales and critical reception were starting to falter noticeably.
And still, the novels kept coming.
Legacy of the Force, which ended in 2008, proved to be (arguably) the single most divisive series in the history of the Expanded Universe, largely because it took one of the main characters in a bold new direction that proved to be highly controversial among long-time fans. Del Rey's follow-up, the nine-book series Fate of the Jedi, was somewhat better received—but it proved to be rather divisive for its own reasons, and many fans didn't like how the writers handled certain aspects of the lore. Fate of the Jedi, which concluded in 2012, proved to be the very last multi-part series in the Expanded Universe.
And... then everything fell apart.
"I've got a bad feeling about this..."
So what happened to the Expanded Universe?
In short: Disney happened.
In 2012, the year that Del Rey's Fate of the Jedi concluded at nine instalments, George Lucas announced his retirement from moviemaking, planning to step down as President of Lucasfilm after more than 40 years. Before stepping down, he reached a deal with Disney CEO Bob Iger and agreed to sell Lucasfilm to Disney, along with the rights to the Star Wars franchise. He agreed to that deal with the full knowledge that Disney would commence development on a 7th, 8th, and 9th episode of Star Wars as soon as they had the rights to the franchise, and he gave his blessing to the new trilogy with the understanding that he wouldn't be a part of making it. Lucas' longtime colleague and confidante Kathleen Kennedy took over as President of Lucasfilm, now a fully owned subsidiary of the Walt Disney Corporation.
It took a couple of years before fans learned anything concrete about the plot details of the hotly anticipated Episode VII (eventually titled The Force Awakens), which would take place roughly 30 years after Return of the Jedi and feature a full reunion of the original cast. But Disney was clear about one thing from the beginning: their new trilogy would tell a wholly original story—and the new films wouldn't be acknowledging any stories from the old Expanded Universe as canon. Instead, the sequels would be presenting a whole new interpretation of what happened after Return of the Jedi, effectively starting with a blank slate.
As far as the new creative team was concerned: Grand Admiral Thrawn and Mara Jade never existed, the Yuuzhan Vong invasion never happened, and Jacen and Jaina Solo and Ben Skywalker were never born. And Kyp Durron, Corran Horn, Kyle Katarn, Prince Xizor, Talon Karrde, Tycho Celchu, Jagged Fel, Tenel Ka Djo, Allana Solo, Mirta Gev, Natasi Daala (and dozens more) were just figments of the fans' imaginations.
After more than two decades, the Star Wars Expanded Universe had officially come to an end. The 2013 novel Star Wars: Crucible—which was announced as something of a "swan song" to the series—proved to be the very last Expanded Universe work, bringing its story to a close. All subsequent Star Wars novels and comic books would take place in a whole new universe with a whole new continuity.
So... what happened to the old ones?
Simple! They didn't vanish from existence—but in all subsequent printings, they would be released under the new imprint Star Wars: Legends, which served as a reminder to fans that they were no longer canon.
As soon as that announcement went out, a certain contingent of the Star Wars fandom went absolutely berserk.
Keep in mind: not only had the old Star Wars Expanded Universe been around for twenty-two years (which was even longer than many fans in 2013 had been alive), it covered four decades worth of stories. Not all of those stories may have been equally great, but some fans had devoted a lot of time and effort to following them through all of their ups and downs. And to some of those fans, being told that many of their favourite stories never happened was a massive slap in the face.
But as Bart Simpson once reminded the Comic Book Guy: "None of these things ever really happened..."
"I've felt a great disturbance in the Force. As if millions of voices cried out in terror, and were suddenly silenced..."
Considering the Star Wars Expanded Universe was around for twenty-two years, it's pretty understandable that some fans grew pretty attached to it over time. But if you look at the big picture, it's also pretty easy to understand why Disney retired it.
It's important to remember: part of the reason why the Expanded Universe grew into such a big and ambitious saga was that most people had every reason to believe that there would never be any Star Wars sequels on the big screen. Because of that, the writers at Bantam Spectra, Del Rey, and Dark Horse effectively had a blank check to go nuts (within reason, of course...) telling the story of Han, Luke, and Leia's continuing adventures without ever having to worry about their stories conflicting with the stories of the movies. Since, y'know... everybody was absolutely certain that there wouldn't be any more movies. (Until there were.)
For his part, George Lucas always made it pretty clear that he didn't consider the Expanded Universe part of his artistic vision. As far as he was concerned, Star Wars ended when the final credits of Return of the Jedi rolled, and the numerous questions about what happened afterwards were destined to remain unanswered forever. The novels and comic books of the Expanded Universe effectively just presented fans with one hypothetical answer about what might have happened next.
So when the Sequel Trilogy was greenlit, the creative staff at Disney were left in sort of an odd bind. Sure, some fans were inevitably pissed when they announced that the EU was no longer canon. But if they'd (theoretically) done the opposite and kept it canon, it would have made it incredibly difficult to make a trilogy of sequels for a general audience.
There's really no getting around it: the old Expanded Universe might have had plenty of fans—but compared to the full-blown cultural phenomenon that was the original Star Wars trilogy, its following was... Well, all things considered, it was pretty niche. And the number of people who successfully managed to keep track of all forty years worth of continuity in the EU is pretty paltry compared to the legions of people who know the story of the original Star Wars trilogy by heart. If Disney had somehow tried to make a trilogy of Star Wars sequels that actually fit into the continuity of the Expanded Universe (which was designed for a completely different artistic medium than the movies), it would have been pretty alienating for the vast majority of people who hadn't spent 22 years keeping track of it.
Seriously, though: can you imagine trying to recap 22 years worth of sci-fi novels in an opening crawl? Exactly.
Disney tried to have it both ways by at least keeping the old Expanded Universe novels in circulation and declaring them an alternate continuity, but a particularly vicious sub-set of the Star Wars fandom continued to loudly insist that Disney had "betrayed" the proud legacy of the Expanded Universe by erasing it from canon, and that refusing to acknowledge the Expanded Universe was the ultimate act of disrespect to the fans.
Because if they really respected the fans, then they "obviously" should have just spent millions of dollars on a trilogy of movies based on a loosely connected series of moderately successful sci-fi novels of wildly varying quality that came out during the Clinton administration, right?
... Right?
What's the Big Deal?
By now, hopefully you've gotten a decent idea of why it sent tremors through the Star Wars fandom when the old EU was officially retired in 2013. For the most part, the arguments that resulted from that development have mostly just amounted to fans yelling at each other on message boards and posting the occasional angry YouTube video. But you could also make a pretty good case that those arguments (as petty as they may be) actually open up some intriguing questions about the enduring legacy of Star Wars and its place in American popular culture.
Even if they're not a fan, most people probably know that the release of the original Star Wars in 1977 was a defining moment in the development of the "geek" subculture. And everybody knows that geeks and nerds love Star Wars. As many disagreements as people might have about Star Wars, everybody knows that it's a "geek classic".
But here's a surprisingly difficult question to answer:
What is a geek? And what is a nerd? And what actually makes a piece of media "geeky" or "nerdy"?
In theory, everybody knows the answers to those questions. But in practice, most of us just sort of know geeky and/or nerdy stuff when we see it. And like with most modern neologisms, the definitions of the terms "geek" and "nerd" have been in flux ever since they were first coined.
Case in point: a "geek" was originally a type of carnival performer, and a "nerd" was originally a fictional creature from a Dr. Seuss book.
(Yes, really. Look it up if you don't believe me.)
Probably the most consistently agreed-upon definition of "geek" is "A person with esoteric interests" ("esoteric" meaning "Not enjoyed or appreciated by the general public"). And one of the most consistently agreed-upon definitions of "nerd" is "A person with an obsessive devotion to their personal interests". So in theory, geeks and nerds are people who like stuff that most people don't appreciate, and get really obsessive about that stuff.
When people talk about "geeky" or "nerdy" hobbies, they're likely to mention stories about Star Trek fans devoting hours of effort to learning the Klingon language, or fans of The Lord of the Rings spending hours learning the Elvish dialects of Quenya and Sindarin. Part of the reason Dune and The Lord of the Rings are considered "geek classics" is that they include 100+ pages of appendices fleshing out the workings of the worlds where they take place, which is perfect for fans who don't mind spending hours diving into the nuances of the lore.
So that settles it! Star Wars is a geek classic because it's esoteric, and most people just don't appreciate it.
... Is it, though?
Lest you forget: adjusted for inflation, the original Star Wars was the second-highest-grossing American film in history at the time of its release, second only to Gone with the Wind. All three movies in the original trilogy were extraordinarily successful, and a lot of people really loved them. So from a certain perspective, they weren't that geeky.
You could also make a case that they're not really that nerdy. After all: at this point, it's pretty well-documented that even George Lucas barely knew anything about the finer points of the Star Wars universe when he first started making the movies in 1977, and he mostly made that stuff up as he went along. In the early years of Star Wars, even the most ardent fans couldn't claim to be "experts" on the lore, because, well... For the most part, there wasn't any. There were just... three very popular movies, which practically everyone in 1980s America had seen.
For better or for worse, the Expanded Universe changed that forever. Thanks to the EU, there was suddenly a hard and fast dividing line between "casual" fans and "serious" fans, and "serious" fans could justifiably claim that they knew more about Star Wars than everybody else. And even at the EU's lowest points, many of those fans took comfort in that—and some of them let it go to their heads.
The unfortunate prevalence of "gatekeeping" in geek culture has been a pretty hot topic for the better part of the last decade, and the evolution of the Star Wars fandom between 1991 and 2012 is often cited as a classic example for good reason. For a while, a vocal minority of Star Wars fans earnestly and unironically believed that the movies were just the tip of the iceberg, and you weren't a real fan unless you had the patience and devotion to keep up with the Expanded Universe too. The movies might have been universally beloved cultural touchstones, but the hardest of hardcore fans had the Expanded Universe all to themselves.
When the Expanded Universe ended in 2012, there were many reasons why some fans weren't happy about it. Some of them were just nostalgic for the Star Wars novels that they'd loved growing up, and were sad to see their favorite original characters go. Some of them truly believed that the sequels would have been better if they'd been based on the Expanded Universe novels from the '90s and the 2000s. And, well... Some of them were angry that their license to gatekeep had been revoked—and for the first time since 1991, they knew just as much about Star Wars as the "casual" fans that they loved to look down upon. Unfortunately, smug superiority is a hell of a drug.
So if you've ever wondered why it's so hard to talk about Star Wars these days without getting into an argument, hopefully that gives you a good idea.
Ghosts of Paperbacks Past
Bottom line: the Star Wars Expanded Universe was a massive undertaking that meant a lot to a lot of people. Love it or hate it, a lot of people put a lot of work into it for a very long time. It's pretty hard to believe that a series could run that long without leaving a legacy behind.
Which is probably why it did leave a legacy behind.
See: when Disney announced in 2012 that the Expanded Universe would be ending, they announced that the animated series Star Wars: The Clone Wars would still be acknowledged as canon alongside the movies. And in an interesting little footnote: a few storylines in The Clone Wars prominently feature a planet called Dathomir, which is home to a group of Force-sensitive "witches" known as the "Nightsisters".
As any EU fan will happily tell you: Dathomir and the Nightsisters were first introduced in the 1994 novel The Courtship of Princess Leia, which was one of the first Expanded Universe novels ever published. So even though that novel wasn't considered canon anymore, some of its more iconic and fondly remembered concepts were saved from the dustbin of continuity, just because they were included in The Clone Wars.
Similarly: the interstellar crime syndicate "Black Sun" (first introduced in the 1996 EU novel Shadows of the Empire) also showed up in a few episodes of The Clone Wars, meaning that Black Sun still existed too.
Thanks to those little details, some fans were able to cling to the faint hope that their favorite EU characters were still out there somewhere in the newly reshaped Star Wars universe, even if they hadn't been properly introduced yet. And sure enough, their prayers were soon answered.
In 2016, Disney released a promotional video for the then-upcoming third season of the animated series Star Wars: Rebels, unveiling the character who would serve as one of the main antagonists of the upcoming season. He was a Grand Admiral in the Imperial Fleet, and he dressed in a crisp white naval uniform. And as soon as they saw his striking bright blue skin and glowing red eyes, fans instantly recognized him.
It was Thrawn! Exactly 25 years after his introduction in 1991, it was confirmed that Thrawn had survived the demise of the Expanded Universe, and he was still hanging around in the new continuity after all. Even better: Disney soon announced that they had contracted Thrawn's creator Timothy Zahn—the man who effectively birthed the EU—to write a whole new trilogy of novels about the character, which would introduce him to a whole new generation of fans.
He's not the only character who's made a comeback since 2012: just two months ago (as of this writing) the comic book series Crimson Reign name-dropped the fan-favourite character Prince Xizor (the leader of Black Sun), confirming that he also still exists in the new continuity.
For various reasons, the end of the EU remains a touchy subject among Star Wars fans—but now that it's been confirmed that some of their favourite characters from the EU could (and might) still return, many disenchanted fans are crossing their fingers and hoping for the best. I don't know if that'll be enough to stop the online screaming matches, but it's something.
And if it ever turns out that Mara Jade is still around too, it'll probably break the internet.
(Personally, I'm still holding out hope for the one-armed space princess. But that's another story...)
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A selection of enriching comments from the original post:
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"TheMightyHeptagon" (the original poster) said:
Hey guys. Thank you to everyone who's taken the time to read this post! As you can probably tell: this is a big subject to cover, and it took me a while to write. Due to space limitations, I had to cut a lot of stuff out.
For the benefit of anyone who's curious about what actually happened in the 40 years' worth of stories that I discuss here: I also wrote a short(ish) condensed summary of the story of the Expanded Universe.
Please note: this is by no means an exhaustive account of everything that happened in the Expanded Universe between 1991 and 2013 (that would take hours...), but it should at least give you an idea of the highlights.
Beware spoilers ahead.
So... Beginning shortly after the end of Return of the Jedi, the story goes a little something like this:
The war between the Rebel Alliance and the Galactic Empire drags on for another 15 years, but the Rebels rebrand themselves as "The New Republic" shortly after wresting the Galactic Capital of Coruscant from Imperial control. A full-blown power struggle for control of the galaxy swiftly ensues, and the Empire falls into chaos as various ambitious power brokers vie for the vacant Imperial throne in the wake of Palpatine's death. Numerous would-be Emperors come and go, some more memorable than others. In no particular order, the big ones are:
Carnor Jax, leader of the Imperial Guard.
Ysanne Isard, director of Imperial Intelligence.
Grand Admiral Thrawn, commander of the Imperial Fleet. Notable for being of the few non-humans to rise to a position of power in the Empire, he's a member of a reclusive and xenophobic race of aliens known as the Chiss, who dwell in the Unknown Regions beyond the Outer Rim (like I said: for various reasons, he's a huge fan-favourite).
Natasi Daala, an ambitious admiral in the Imperial Fleet.
Warlord Zsinj. He's, um... a warlord named "Zsinj".
Little by little, the New Republic retakes the galaxy from the Empire. Rogue Squadron becomes a top-notch X-Wing squadron under the leadership of Luke Skywalker's old friend Wedge Antilles, and numerous brave space pilots become widely renowned heroes, with Corran Horn (who turns out to be Force-sensitive, and eventually becomes a Jedi) and Tycho Celchu (a former Imperial pilot who defects to the New Republic, becoming Wedge's wingman and best friend) being among the most notable. Things get a little complicated when Wedge's sister Syal Antilles falls in love with his greatest rival—ace Imperial TIE pilot Baron Soontir Fel—but Fel eventually joins Rogue Squadron after having a crisis of conscience and defecting to the New Republic.
The Empire briefly bounces back after Palpatine rises from the dead with the help of cloning technology and dark Force magic, and even manages to turn Luke to the Dark Side—but Leia manages to save his soul and redeem him.
On a more personal front: Leia and Han finally get married after resolving a brief love triangle involving a filthy rich space prince from a kinky matriarchal planet ruled by women (long story...), but things end happily after Prince Isolder falls in love with a sexy space witch from a different kinky matriarchal planet ruled by women (again: long story). The pair celebrate the births of their twin son and daughter Jacen and Jaina, eventually followed by their second son Anakin.
Also: Luke meets Palptatine's sexy Force-sensitive apprentice and secret personal assassin Mara Jade, who was previously assigned to kill him. Naturally, the two of them fall in love and eventually get married.
Also: Han's asshole cousin Thrackan Sal-Solo starts a rebellion on his home planet, and we learn that Corellia is technically a system of five planets artificially kept in close proximity by a mysterious long-abandoned space station built thousands of years ago by an unknown alien race. Since Centerpoint Station is capable of controlling the orbits of entire planets, it has the potential to become the galaxy's deadliest weapon if it falls into the wrong hands—but it's so old that only a handful of people know how to control it (one of whom is Anakin Solo).
Also: it turns out that Boba Fett survived falling into the Sarlacc's pit, since the fans wouldn't tolerate him staying dead.
Luke also starts his own Jedi Academy and devotes his life to training a new generation of Jedi, including the three Solo kids. There are a few bumps along the way—most notably when a troubled Jedi apprentice named Kyp Durron briefly turns to the Dark Side and uses a lost Imperial superweapon called the "Sun Crusher" to murder millions of people before coming to his senses. Kyp returns to the Light Side, but remains the New Jedi Order's resident brooding bad boy, advocating a more violent approach to protecting the galaxy from evil.
Also: Leia's would-be suitor Prince Isolder and his sexy space witch wife (remember them?) have a daughter named Tenel Ka, who turns out to be Force-sensitive and joins Luke's Jedi Academy, where she eventually falls in love with Han and Leia's son Jacen. Jacen also accidentally cuts off her arm in a tragic accident during lightsaber training, but she gets over it.
After a long string of losses, the former Empire is whittled down to a tiny fraction of its former self, and the Imperial Remnant (now led by Thrawn's old right-hand man Gilad Pellaeon) is forced to give up the ghost and sign a peace treaty with the New Republic, finally bringing the war to an end.
Naturally, the peace proves to be short-lived, and the galaxy is soon invaded by a race of horribly nightmarish alien religious extremists from beyond the galaxy called the Yuuzhan Vong, who practice ritualistic body mutilation and treat torture as a religious sacrament. They also believe that technology is an abomination (all of their spaceships and weapons are organic), and exist entirely outside the influence of the Force. The war against the Yuuzhan Vong kicks off with the death of Chewbacca (yes, really) after they use gravity manipulation to crush him to death with a moon (yes, really). Despite the best efforts of the Jedi and the New Republic, the Yuzzhan Vong unleash untold death and destruction across the galaxy, and countless people are killed—including Anakin Solo.
Finally, the New Republic collapses after Coruscant falls to the Yuuzhan Vong, forcing the fugitive leaders of the New Republic to join forces with the Imperial Remnant to drive them off and retake Coruscant. Thus, a new government called the "Galactic Alliance" rises from the ashes of the New Republic, and eventually manages to defeat the Yuuzhan Vong after the Skywalker-Solo clan finds the Yuuzhan Vong's missing home planet—which is sentient, and can travel through hyperspace (don't ask...).
Amid the doom and gloom of the Yuuzhan Vong war, Luke and Mara have a son named Ben, and we learn that Syal Antilles and her husband Soontir Fel (remember them?) have a son named Jagged (yes, that's really his name...), who's grown into a world-class starfighter pilot after years of training among the Chiss (remember them?). With a name like "Jagged Fel", it probably goes without saying that he's a sexy and mysterious bad boy. So, naturally, he and Jaina Solo eventually fall madly in love.
Things briefly quiet down after the war with the Yuuzhan Vong, with the exception of a brief war with a race of insectoid aliens called the Killiks, who turn out to be the creators of Centerpoint Station (remember Centerpoint Station?). In the intervening years, Ben Skywalker becomes a Jedi, and Jacen has a secret love affair with his childhood girlfriend Tenel Ka (remember her?), the one-armed space princess who's also a space witch. One thing leads to another, and the one-armed space princess gets pregnant with Jacen's daughter.
Years down the line, the galaxy is plunged into civil war yet again when Han's asshole cousin (remember him?) leads the five planets of the Corellian system (remember them?) in a bid to secede from the Galactic Alliance, causing a rift between the Skywalker and Solo families when Han temporarily sides with his home planet, and the Galactic Alliance government takes some rather draconian measures to quash the Corellian independence movement. Amid the chaos, Jacen—who was never really the same after the Yuuzhan Vong war—does some pretty morally questionable things in the name of ending the war and preserving peace, eventually going whole-hog and turning to the Dark Side. Along the way, he forms his own special squad of secret police to root out Corellian terrorists, he kills Mara, he unsuccessfully tries to corrupt Ben Skywalker after taking him under his wing as an apprentice, and his relationship with Tenel Ka permanently breaks down. He also accidentally kills Boba Fett's long-lost daughter Ailyn Vel during an "enhanced interrogation" session gone wrong, giving Fett ample reason to want him dead (which generally isn't great for a person's life expectancy).
In the end, Jaina is forced to save the galaxy by facing her brother (now known as "Darth Caedus") in a duel to the death with a little help from an aging Boba Fett, who has a little experience at the whole Jedi-killing thing. We also learn that Boba Fett has a wife named Sintas Vel and a granddaughter named Mirta Gev who are poised to carry on his legacy.
Things mostly go back to normal after Jacen's death, and Jacen and Tenel Ka's daughter Allana thankfully escapes unscathed. Years after that, the Jedi find themselves plunged into a war with a Lost Tribe of the Sith led by an evil entity called "Abeloth", but the good guys win once again, and Jaina and her sexy ace pilot boyfriend Jagged (remember him?) get married.
In the end, Jagged apparently starts a new Galactic Empire with Jaina by his side and declares himself Emperor, it's implied that Allana may or may not be the real Chosen One destined to bring balance to the Force, and Ben Skywalker carries on the Skywalker name as he continues to train as a Jedi. And 100-odd years after that, Luke's descendant Cade Skywalker (a disillusioned former Jedi turned bad boy smuggler) helps save the galaxy from a reborn Sith Empire led by the evil Darth Krayt, a fallen Jedi raised by Tuskens on Tatooine (don't ask...). The details about what happened in between those events are pretty vague—but the important thing is that the good guys win, and the galaxy is safe and at peace. And the Force will be with us, always.
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"ToaArcan" said:
A lot of the most bitter online fighting centred around the missteps the EU had made, with regard to the post-movie timeline. Look into any pre-2014 article about the weirdness of the Star Wars novels and comics, and you'll see a pretty interesting list of things that fans and casuals alike took issue with.
Han and Leia's son turning evil. A million superweapons that make the Death Star not remotely special. The deaths of iconic movie characters. Cloning the Emperor. Luke turning to the Dark Side.
When the EU was jumped, there were people who were looking at the silver lining. Sure, we'd lost Thrawn and Mara Jade and all that good stuff. But we'd also dumped all the really stupid shit like BDSM 40K rejects that whip people with eels, or that time Darth Vader totally had a Buzzcut McWhiteboy apprentice who could kick every other Jedi and Sith's arse one-handed, you guys. Karen Traviss would never again touch Star Wars!
Of course, the dismissal of the EU as a load of trash with one or two bright spots only made the diehards angrier, and that, at least, seemed to be justifiable. It also got pretty awkward when the dust settled on the Sequel Trilogy and we had an evil Solo spawn, an even bigger Death Star and a whole fleet of planet-killing Star Destroyers, all of the original trio dead, an Emperor clone, and a Luke who, while he didn't turn evil, definitely ended up going in a much darker direction than most fans liked.
On the whole, post-Disney buy-out Star Wars has been slow to reintroduce the elements of the EU that fans actually liked, like Thrawn and Boba Fett's survival, but sure as f*** did rehash a lot of the things people used to mock the EU for in the first place. Fortunately no eel-whips yet, but we're never truly safe. And of course, the Disney canon is rapidly becoming another self-referential bloated beast of a franchise, just like its father before it.
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"TastyBrainMeats" replied to "ToaArcan":
[Mention of Karen Traviss]
Beware, lest you summon her weird fanboys.
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"ChristmasColor" replied to "TastyBrainMeats":
I was a fan of her books. I enjoyed her pointing out the Jedi were weird for using slaves.
What makes her so controversial?
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An unknown Reddit user replied to "ChristmasColor":
I think her stuff for the Clone Wars era is mostly liked. She tends to go a little overboard with her "the Jedi were the real villains" shtick, but Lucas is the one who made them weird dogmatic virgins with no compunction whatsoever with using child slave soldiers that some mysterious benefactor just sort of left on their doorstep with no explanation, so it's hard to blame her. She tends to take more of a gritty military fiction approach to Star Wars, which can be somewhat divisive, but I really like that aspect of her work, and I think the EU could have benefitted from a little more diversity of style honestly.
The main reason she's hated is her contributions to the Legacy of the Force series, where her "Mando" fetish really got out of hand. The Mandos got thrown into the centre of the story, despite playing almost no role in the EU after Return of the Jedi up to that point, and Traviss spends half of her books talking about how awesome and better than everyone else the Mandalorians are: they can beat up Jedi without breaking a sweat, their ships are indestructible and specifically described as faster and having more firepower than X-Wings, their culture is loving and inclusive and family oriented but also everyone is trained to be a super-awesome warrior from birth, and so on. It comes across as forced, unmotivated, and disrespectful to the existing lore.
And to cap it all off, it often seems like the only way she knows how to build one of her self-insert characters up is to tear some other character down. The way she shows that Mandos are awesome at hand-to-hand combat is by having them repeatedly beat the s*** out of Jaina Solo when she's training with them, and having Jaina's inner monologue read like "Man, I wish I was a Mando. These guys are so cool and I'm just this pampered Jedi princess who's never had to work for anything in my life" (despite fighting on the front lines of a brutal war since she was like 15 years old and by this point being a 30-year-old decorated fighter pilot, fully trained Jedi, and galaxy-wide famous war hero).
I've never read her Republic Commando books (I've never been all that interested in the Prequel era), but her Legacy of the Force books are full of obnoxious Mary-Sue author inserts, mean-spirited characterizations of beloved characters, and a petty refusal to make her stories flow together with the ones written by Allston and Denning (though she's far from alone in that last sin, as the authors of Legacy of the Force did not play well together for some reason). Apparently, Traviss also had a habit for a while of getting in online flame wars with fans and calling the Jedi "nazis" and shit like that, which rubbed a lot of people the wrong way, but I never heard of any of that until years later.
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"ZeitgeistGlee" replied to "ChristmasColor":
"I enjoyed her pointing out the Jedi were weird for using slaves."
The issue is that Traviss was hilariously one-sided in her criticism, she mischaracterised, picked at or overplayed minor faults or outright wrote new ones in the Jedi Order and their characterisation to justify her (character's) positions, and then handwaved or whitewashed or lionised the toxic behaviour and culture of her Mandalorians and their history.
The "Jedi use slaves" is a good example of that: they didn't "use slaves", they were ordered to take command of the Republic's Clone Army and fight the Separatists, and better authors than Traviss specifically paralleled the experience of the Clones with Jedi (both groups being made up of children raised into service culture segregated from the rest of society).
If I remember correctly, the Revenge of the Sith novelisation specifically has Palpatine monologue that the entire Clone Wars conflict was constructed to destroy the Jedi whether they participated or not. If they fought, then the horrors of a galactic-scale war would break them down psychologically, spiritually and literally, as well as spread them out so the remainder could be killed all in one swoop by Order 66 once Palpatine had seized power; if they'd refused to fight and withdrawn to the Jedi Temple or one of their alternate academy worlds, then they'd have been painted as cowards/traitors who could be executed all in one spot at the end of the war without complaint.
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"ZeitgeistGlee" replied to the unknown Reddit user:
"I've never read her Republic Commando books (I've never been all that interested in the Prequel era), but her Legacy of the Force books are full of obnoxious Mary-Sue author inserts, mean-spirited characterizations of beloved characters [...]."
Her Clone Wars novels after the first one or two are exactly the same as her Legacy of the Force stuff. Kal Skirata was a particularly obnoxious version of her Mary-Sue Mando culture, and then there's Etain, her pet Jedi who dies defending one of the clones assaulting the Jedi Temple from Padawan trying to escape.
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"mxzf" replied to "ToaArcan":
"On the whole, post-Disney buy-out Star Wars has been slow to reintroduce the elements of the EU that fans actually liked, like Thrawn and Boba Fett's survival, but sure as f*** did rehash a lot of the things people used to mock the EU for in the first place."
This is really the crux of it. Disney got rid of all of the EU material and then pretty much only brought back the worst parts of it.
In theory, they were house-cleaning and were able to bring the better parts of the EU back into the fold. But instead, they took the worst parts of the EU and chose to bring them back while leaving the best material abandoned.
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"ToaArcan" replied to "mxzf":
There's been good stuff too. The aforementioned return of Boba, and him being re-canonised as a Mandalorian. Thrawn's still kicking, and while the Old Republic continues to limp on in Legends, they've at least started referencing Revan in canon again. Delta Squad are a thing again, Filoni got them into The Clone Wars and Scorch showed up properly in Bad Batch.
But it's taken a lot longer for those pieces to come back into play, while the movies were quick to jump on some of the worst ideas. Not all of the things they did opt to bring back were bad, but a lot of them were, and the execution leaves a lot to be desired. The Force Awakens played everything extremely safe, too safe. The Last Jedi was bold and challenging, and I enjoyed it very much, but bringing Abrams back for The Rise of Skywalker and having its script mostly written by the comments section of a MauLer video retroactively made it a whole lot worse. And then The Rise of Skywalker itself is just a trainwreck of epic proportions. I still had fun seeing it in the cinema, but I'm in no rush to watch it again.
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"UnsealedMTG" said:
This is a fun memory lane journey as a 1980s-born Star Wars fan. For that generation, Star Wars really did feel like a more niche, albeit common, interest. For our formative years, no movies had been released in theatres since either before we were, like, 3 years old or (for me) before we were born. So Star Wars was just a finished "thing" in a way that it wouldn't have been to people who were born earlier—or to people who were born a little later and had the Prequels and The Clone Wars and everything else come out while they were in the real target age bracket.
Sure, "everyone" had seen Star Wars but being into it was more akin to being really into comic books or fantasy novels than, like, the MCU or Game of Thrones when it was on (to name cultural phenomena that would have seemed practically unthinkable in the 1990s).
And of course as one of those people I have to push my glasses up and make one comment—not a correction, but just another reframing to put you back in the early 1990s:
"(specifically: a member of a newly introduced species known as the 'Chiss')"
It was actually much more mysterious than this! Thrawn's species was pointedly not named in the original. He's just blue and has glowy eyes and is an alien. What species he comes from and how he come to be highly ranked in the human supremacist Empire is left as part of his mystique at that point.
It wasn't until Zahn's much later Visions of the Future—released in 1998, towards the end of that core EU era in the 90s before The Phantom Menace in 1999—that Thrawn's species got a name.
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"TheMightyHeptagon" (the original poster) replied to "UnsealedMTG":
Ah, thank you for the correction! I must confess: it's been a while since I've actually read the Thrawn Trilogy.
I can relate! As a Star Wars fan born in the early 1990s, I was sort of tangentially aware of the EU just as it was taking off, but it was all pretty mysterious to me since I was way too young to read most of it at the time. I have distinct memories of seeing all the Star Wars novels on the shelves of my local library and bookstore whenever I went there with my parents when I was about 4 or 5 years old and wondering why I didn't recognize half the characters on the dust jackets. That sense of befuddlement eventually inspired me to take a deep dive into the EU when I was a teenager.
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"UnsealedMTG" replied to "TheMightyHeptagon":
I think that also speaks a little bit to the "geek culture" thing about Star Wars in the 1990s, too. I mean... Now there's Wookiepedia. Anyone with any amount of interest, a smartphone, a few minutes, and the ability to get through Fandom's intrusive ads can know anything about those mysterious characters in the books. There's no barrier of effort.
In the 1990s, if you wanted to gather that knowledge about the Star Wars galaxy, you had to go out of your way and either read the books themselves or go get one of the dictionaries or encyclopedias that they published to dig out that information.
I think that makes it more understandable how people reacted to the transition, even if the transition was clearly inevitable and a lot of people on the "Pro-EU" faction were kind of toxic gatekeep-y dicks. This old EU information was something people had gathered through effort that creates a feeling of meaning. To them, saying it "doesn't count now" isn't just saying that some things that didn't happen... extra didn't happen. It's taking something that they worked to collect and invalidating it.
Now, I'm personally a person who is much more interested in the history of how the stories were told in our chronology than in the details of the actual in-universe world so the canon status/non-status is not a big deal emotionally to me.* But it's at least something that follows logically from the sort of information collector mentality that the Star Wars EU and properties like it really encouraged.
(*Which is why I'm interested in stuff like how Thrawn was originally a "unique blue alien guy" and only later did they introduce a "whole species of Thrawns", and why I get annoyed when finding the history of how the words "Sith" and "Mandalorian" got used in Star Wars is so much harder than it is to find the cobbled-together and retconned in-universe histories of the Sith and Mandalorians)
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"DocWhoFan16" said:
The Courtship of Princess Leia is absolutely ludicrous, honestly a very stupid book, and it is also genuinely one of my favourite Star Wars stories in any medium ever.
In this book, Space Fabio shows up to try and woo Princess Leia. Han gets jealous and tries to win her over by... winning a planet in a card game where she can re-house the refugees from Alderaan. Leia isn't too impressed, so Han's response is... to use the "gun of command", a blaster which essentially shoots mind control, to kidnap her and fly her off to this planet he's won: Dathomir.
Dathomir, as it happens, is deep in the territory of the Imperial warlord Zsinj, but Han doesn't let that perturb him. Then they get to Dathomir and learn that it's this matriarchal society of Force witches. Also, Zsinj has an orbiting network of satellites which, for all intents and purposes, allow him to turn off the sun. Space Fabio and Luke follow them, crash-land on Dathomir and get picked up by one of the Force witches, who has this weird Mills & Boon romance storyline. I'm pretty sure it's implied that Yoda might have shagged a witch when he visited years ago.
All the while, C-3PO becomes this weird matchmaker trying to set Han and Leia up. He tries to prove that Han has royal blood so he can marry a princess, only to discover that Han's supposed royal ancestor is a notorious pirate who was actually a pretender to the throne.
(The most frustrating thing about that last point is that one of the tie-in reference books from years later actually went ahead and revealed that, yes, the ancient prince of Corellia who once dominated the ancient Republic was called... Solo. To me, that sort of missed the point, but I admit I had long since grown out of Star Wars novels by then!)
Is it especially well-written? Not really. But it's creative. It's interested in what Star Wars can be, far more than what it should be (and if I have one criticism of Tim Zahn, it's that he often seemed to lean a bit more in the latter direction). See also: The Crystal Star, in which Space Hitler kidnaps Han's and Leia's children so he can feed them to a gold-plated meat monster from another dimension who has promised to increase his Force powers, and the galaxy is full of centaurs and werewolves and stuff like that.
I think after 1999, when the licence leaves Bantam Spectra and goes to Del Rey and Lucasfilm starts exerting a lot more top-down control (and this is across the board in all media, not just with novels), the Expanded Universe lost a lot of that. I think it became a lot more homogenous, at least aesthetically.
Consider something like the Knights of the Old Republic video games. Those are fairly good games. But they look like the Prequel movies! They're set four thousand years ago, but they look like the Prequels. Compare that with comics like Tales of the Jedi or (my personal favourite) Jedi vs Sith, which look properly ancient while still looking like Star Wars.
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"Lastjedibestjedi" replied to "DocWhoFan16":
You leaving out the Rancor riding in the middle of all this other madness is a war crime.
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"DocWhoFan16" replied to "Lastjedibestjedi":
Yes, and I also forgot that the creatures in The Crystal Star are actually called "wyrwulfs" rather than "werewolves", sorry.
How about the half of Children of the Jedi where Luke falls in love with the computer on a lost Imperial super-weapon which was designed to kidnap Jedi children, except it's not really a computer, it's really the disembodied spirit of an Old Republic Jedi which is trapped in the computer, and at the end of the book, she sort of reincarnates in the body of one of Luke's hot young Jedi students.
Barbara Hambly was specifically instructed that, in that novel, she had to introduce the perfect love interest for Luke Skywalker. Then a couple of books later, nobody likes Callista, and Hambly is back to write Planet of Twilight (the one where Leia has a lightsabre fight with a Hutt) and she's told that this time her job is to get rid of the perfect love interest for Luke Skywalker, which she does in a couple of pages right at the end of the book.
How about the time the Young Jedi Knights met a group called "the Diversity Alliance" whose ostensible ideology was anti-racism and opposition to human supremacism in the New Republic and who are led by a former Twi'lek slave (and because this is the Star Wars EU, this Twi'lek was the sister of Oola from Return of the Jedi BECAUSE OF COURSE SHE WAS), but their real plan is to commit genocide against humans using stolen Imperial bio-weapons. Because the anti-racists are the real racists (IT MAKES U THINK).
Seriously, I appreciate that Kevin J. Anderson in 1998 or whenever it was had benign intentions to do "racism is bad" stories in the YA series, but... Look, it's a faction of villains called "the Diversity Alliance" whose opposition to racism is actually a cover to kill all white people humans, and it's up to Han and Leia's kids to stop them. That sounds like some kind of parody of nerds on the Internet in 2022, doesn't it?
Don't get me wrong, I still enjoy the pre-1999 novels a lot (don't really like the ones on the Del Rey era, but that's neither here nor there; the comics are still good after that point, though), but it's very much a "warts and all" thing.
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"bhamv" said:
"(Personally, I'm still holding out hope for the one-armed space princess. But that's another story...)"
Ah. Ah ha. I am glad that someone else shares my fondness for Tenel Ka.
I was a huge fan of the EU. I didn't read every book, but I read a lot of them, and the sheer depth of the lore was amazing. It was like swimming in a vast ocean that always threw up something new and fascinating for you to see.
In particular, I thought Xizor was a great antagonist, and I'm glad to see that he might reappear in the new canon some day.
EDIT: Also, one of the plot threads suggested in Legends that has unfortunately been abandoned is that the Emperor foresaw the invasion of the Yuuzhan Vong, which is why he took over the galaxy and had the Death Star built. The galaxy had to be united to fight such a foe, so it needed a weapon capable of taking out the Vong's moon-sized world-ships. Stuff like this adds so much depth to the motivations of existing characters, and I much prefer it to the simple "this space station will help us rule by fear" motivation in the movies.
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"Coronarchivista" replied to "bhamv":
Or in Heir to the Empire, where Thrawn speculates that the reason the Imperials lost the Battle of Endor despite far outnumbering the Rebels is that Palpatine was using "battle meditation" to coordinate the Imperial fleet, and when Vader threw him down the shaft, the Imperial fleet was thrown into chaos and routed.
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"FuttleScich" replied to "bhamv":
I always thought the "Palpatine just wanted to help" thing was the worst part of the old EU, and I’m glad it’s dead.
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"DocWhoFan16" replied to "FuttleScich":
It did get a bit of "Hitler just wanted to make Europe strong enough to fight the Soviet Union" some of the time.
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skytalkerspodcast · 10 months
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George Lucas & Steven Spielberg: Best Friends and Filmmakers Forever
In this episode, podcasting BFF’s Charlotte and Caitlin take a look at the relationship between filmmaker BFFs: George Lucas and Steven Spielberg.
In this episode, podcasting BFF’s Charlotte and Caitlin take a look at the relationship between filmmaker BFFs: George Lucas and Steven Spielberg. They dive into George and Steven’s friendship and partnership as creatives who have come to define the film industry for the past 50 years. The episode covers Steven’s early thoughts on Star Wars, the creation of Indiana Jones, their shared love of…
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rochenn · 6 months
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i have decided for myself that cody's special interest is historical space travel in the same way the age of sail and ocean liners is for us. PLEASE ask him about the deep space crash of 1200 BBY. or that time a distressed freighter disappeared inside a gas giant never to be seen again. he knows everything about that one line of cargo ships that used to supply the galaxy's frontiers way back when today's mid-rim was still considered an unknown region. oh i see the vision
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gothgleek · 10 months
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Natalie Portman wearing a replica of the iconic ‘Junon’ dress from Dior FW49 at the 2023 Cannes Film Festival
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Errors, “Errors,” and Sci Fi
@strawberry-crocodile
tvtropes calls stuff like the wolf example "science matches on" which I think is a pretty fair shake
This.  This is what’s got me thinking so much about errors.  There’s a certain danger, here.  A certain way that this particular effect — delicious dramatic irony — tempts the mind when reading old stories, even true ones.
What do you know about R.M.S. Titanic? I ask my class every year, and the first hand rises.  “It was unsinkable,” the student inevitably says, and everyone is nodding, “or so they thought.”  I write the word UNSINKABLE on the board, underneath my crude drawing of a ship with four smokestacks.  It will be crossed out before the end of the hour, but not for the reason they expect.
“I find no evidence,” Walter Lord, preeminent biographer of the ship’s survivors, wrote, “that Titanic was ever advertised as unsinkable. This detail seems to have entered the collective mind so as to create a more perfect irony.”  Indeed, historians’ examinations of White Star Line documents show the shipbuilders themselves worried it would be so large as to risk collision; they stocked several more lifeboats than 1910s regulations required.
The War to End All Wars (deep breath, satisfied exhale), also known as World War ONE. Chuckle.  Shake of the head.  What if I told you that this phrase, used primarily in American newspapers after the fact, wasn’t meant to be literal? Nowadays we’d say The Mother of All Wars, or One Hell of a Fucking War, but we wouldn’t mean literal motherhood, literal intercourse.  What if I said the armistice and the Lost Generation and the Roaring 20s were all braced for another outbreak of European conflict, and yet we still failed to prevent it?
Did you know they were so confident in the safety of the S.S. Challenger that they put a civilian schoolteacher onboard? I do, because I’ve heard that one repeated many times.  Only, see, it’s got the cause and effect reversed.  Challenger launched on a day the shuttle’s engineers knew to be dangerously cold, because the first civilian in space was on board. And NASA knew its shuttle project would be cancelled entirely, if they couldn’t get that civilian’s much-delayed entry into space in the next two weeks.  So they launched on a cold day, and killed her instead.
These are all what cognitive science calls Hindsight Bias on the personal level, what sociology calls Presentism on the cultural level.  Social psychology’s a little of both, is primarily interested in why you’re sitting on your couch in a Colonize Mars shirt watching PBS and chuckling at the fools who believed in El Dorado.  It wants to know why the mind flees straight from “marijuana will kill you” to “marijuana will cure cancer” without so much as a pause on the middle ground of its real benefits and drawbacks, its real (mild) risks and rewards.
And they can paralyze the sci-fi writer, if you think too much about them. Jetsons is futurist one decade, retro the next.  “There are no bathrooms on the Enterprise,” the creators of Serenity say smugly, as if Gene Roddenberry should’ve simply known that decades later it’d be acceptable to show a man peeing in full view of the camera, nothing but the curve of the actor’s hand to protect his modesty.  “No sound in space,” the Fandom Menace says, “No explosions in space,” and “A space station can’t collapse in zero-G.”  Only then NASA burns a paper napkin outside of atmosphere, transmits music using only the ghost of nearby planets’ gravities, and logs onto Reddit long enough to point out the Death Star would implode in its own gravity field.  And now we’re the ones pointing, the ones laughing, at those earlier point-and-laughers.  Self-satisfied, smug in superiority.  As if we did the work to find out ourselves, instead of just happening to be born a little later than George Lucas.
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