Tag: epic

Star Wars: The Clone Wars

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This scene might sum up the essence of Star Wars: The Clone Wars for me, the soon-to-be seven seasons of galactic goodness depicting the events between Attack of the Clones and Revenge of the Sith. It’s not from one of the greatest episodes, not even one in any form essential to the overarching plot. (None of them are. That’s part of the magic!) But it captures the colourful abundance and diversity of Star Wars, the light-hearted, sense-of-wonder-tickling approach The Clone Wars takes to its somber themes.

Ahsoka TanoAnd trust me, The Clone Wars is heavy stuff, especially for a show aimed at a younger audience. We all know what happens to hotshot hero Anakin Skywalker, and to those many, many Jedi and their faithful clone regiments. One of the great accomplishments of The Clone Wars is its exploration of the tragedy in the making, a tragedy that never worked in RotS on screen (the novelization by Matthew Stover does a much better job): a war lost from the beginning, an order of old not able to adapt as an institution (although filled with well-meaning, clever individuals), a fine hero slowly descending into darkness with no one to stop him, an army of misused men disconnected from the society they are defending, only to be utterly betrayed in the end.

I heard the words “Clone Wars” for the first time in 1977 Star Wars, and a whole range of exciting possibilities popped up in my mind then. When it turned out to be endless rows of Jango Fetts taking it out on endless rows of droids in AotC, it was a whole platter of meh with a dash of disillusion. Enter The Clone Wars: boy, did it deliver on the promise of a sweeping, epic conflict!

The first season isn’t quite there yet, though. And even later, the villains are often at their most cackling villainy, the droids are mostly walking, clanking jokes, and I can tell you I had a bad feeling about some overused one-liners. But the show finds its stride, evolving into multi-episode story-arcs and displaying a broad range of themes and genres – some episodes are pure fun and wonderful weirdness, some are super serious war narratives, or force mysticism fables, or games of political intrigue, or they pay homage to cinematic moments from Jaws to The Seven Samurai. Not all the things director Dave Filoni and his writing team experimented with were right up my alley, but I found something to like in most of the 121 episodes – even the ones featuring *gasp* Gungans!

Great, it’s gonna be another one of those planets.
– Clone pilot Warthog

The plots are not overly complex. You’ll often know how a story will go, because it’s just a Star Wars spin on something you’ll recognize. But there are twists and turns and a lot of fun along the way. Character development is always on spot and features awesome original characters like Jedi Padawan Ahsoka, Clones in many different flavors, Sith assassin Ventress, and a bunch of colorful bounty hunters. There’s a whole parade of well-written female characters, and there’s even a nice diverse subtext in this galaxy teeming with aliens of all shapes and sizes. Take the Aleena from “another one of those planets”: they are seen at various times as background characters, and while they look like a bad ringtone ad from the 90s, apart from tribal warriors on flying mantis mounts, they can also be drunken ladies on Coruscant, traveling artists, or even Jedi.

Fauna of Wasskah, Star Wars

Then again, I’m not among those who get annoyed by “those planets”. I grew up on the Ewoks animated series, after all.

The Jedi, by the way, are not exactly the good guys, not as a whole. The Clone Wars introduces a lot of greys to the Star Wars moral landscape; you could even say it drops the good-vs-evil premise completely as the war muddies all moral absolutes very effectively. Some story-arcs feature a surprisingly strong anti-war message, and the clones are the perfect stand-ins for the dehumanizing and deindividualizing nature of war.

Apart from that, The Clone Wars greedily gobbles up everything that was in the SW universe up till then, while adding a lot more, without neglecting to keep the audience grounded with a sense of place and coherence in the galaxy far, far away (looking accusingly at you, Disney era Star Wars!)

The background details (advertisments, graffiti etc.) are beyond awesome!

As this was the last major contribution to the Star Wars canon with George Lucas at the helm of Lucasfilm, these were the stories he wanted to tell, and they show he still knew how to spin a yarn, with Dave Filoni & Co. doing the heavy-lifting to make this serialized approach to the epic formula shine. You can clearly see how much thought and love went into the details, into the animation, and into the development of an awe-inspiring number of narrative strands weaving in and out of the main storyline about the fall of the Republic and the Jedi.

The Clone Wars is notoriously told non-chronologically (but it might be a good idea to watch it in the correct order). Somehow, it works anyway as an episodic war narrative at dozens of locations, coming together to form an extensive mosaic of worlds, characters, factions, and action. It manages to walk the thin line between rollicking pulp adventure and drama with admirable grace. This is Star Wars at its best, in a galaxy brimming with strange life, with its animation ever more beautiful, and its punches aimed at your guts ever more violent. Most violent, perhaps, when you realize the show was canceled in favor of Rebels without tying up even one of its numerous loose ends. I’m hyped for the revival, of course, but twelve new episodes seem awfully short to finish the stories I’d be interested in.

Even unfinished, The Clone Wars is worth watching. Are you a jaded Star Wars fan who wants to fall in love anew? Or do you adore all the movies and want more? The Clone Wars has got you covered. Give some love to the clones! Give some love to Ahsoka Tano (naturally)! Maybe even give a little bit of love to Anakin Skywalker!
Reconcile with the prequel era, you want. Search your feelings.
Embo on Scipio, Star Wars

Small Crush: Wonder Woman

How can you not have a crush on Wonder Woman?
She is pure wish-fulfilling empowerment, without being debased by the male-gazey fits a Black Widow (and almost every other woman who ever wore a hero’s costume) has to suffer. If you can’t see that, and if you can’t understand how this is able to change the way a woman perceives herself in the world, you probably never struggled with the kind of roles stories had to offer, the kind of dreams you had access to.

It could have gone wrong in so many ways. Diana was destined to be born sexy yesterday. But lo and behold, every time the dreaded “oooh, so this is what a kiss feels like” scene was about to come up, Wonder Woman veered off into another direction. The whole romance was handled very thoughtfully.

Same goes for the camaraderie. My first love in fiction was epic fantasy, so I have this soft spot for ragtag, diverse groups of adventurers going on a quest. I liked Diana’s companions. And the scene when they free a Flemish village is pure joy for many reasons.

Wonder Woman movie release posterWhat I enjoyed most, though, was the movie’s beginning at Themyscira, showing a whole island of women at all levels of society. I could have watched this forever. Actually, I was able to watch it for quite some time, because Wonder Woman starts out slow-paced. Which would have been perfect, hadn’t the rest of the film been totally detached from these scenes. I felt there should have been some reconnection later on, anything to justify the time we spent with that awesome Amazon action.

(Talking about action: Why, oh why, do we still have to put a woman who’s all legs anyway in high heeled boots in 2017? No amazon worth her tiara would ever wear high heels to fight, when it’s all about balance and firm stance.)

The old superhero movie malady of too much thrashing and bashing also raises its ugly head in the finale. It looks good, but doesn’t show anything beyond that, especially in super slowmo and going on forever because the big bossfight has to be epic.

These issues with pacing and focussing are nitpicks, though, and compared to most superhero movies I have seen, Wonder Woman has a strong plot. But it often hinges on the assumption that women can’t do that. Wouldn’t do that. Diana does, astonishment arises, and she wins the day. The story depends on the element of surprise, on the outrage and innovation of a physically overpowering woman. I wonder how Wonder Woman’s plot will develop when this crutch falls away, when she’s accepted as what she is.

We’re not there yet. But Wonder Woman is a beginning, and I’m impatient. With heroines like Diana, we’ll get there.

Implied Spaces on a shoestring budget

This week marks the deadline for my translation of The Exodus Towers by Jason M. Hough. Somehow, despite all planning, the end is always a very delicate time – I just can’t squeeze in a love letter or other blog post. But in case you need a recommendation anyway: One of my all-time favorite books, Implied Spaces by Walter Jon Williams, is on sale this week (eBook editions, just look it up at your preferred seller – mine is Smashwords). It’s a story about a bright future on many worlds, and it’s very interesting to see Implied Spaceshow suspense is created in a universe where mankind seems to have found solutions for most big questions. If you are interested in the craft (or just good old ingenious entertainment), this novel also shows how style and genre work, because every chapter presents a new genre. Also featuring speaking cats, soul-devouring swords and battle by throwing around wormholes. I’m going to write more about this novel with its brilliant characters and formidable concepts some day soon, but in the meantime, you could just go ahead and read it. You’re not going to get a better deal this week!

Digger (Ursula Vernon)

I fell in love with Digger on the first pages of the comic, where the eponymous wombat heroine heads straight into trouble by doing what she does best: digging a tunnel. Alas, this particular tunnel was no masterpiece, so she gets lost and finds herself in a strange new and utterly wombat-free land. It took me a while to realize that Digger was a heroine (those wombat boobs are kind of hard to spot when you don’t expect them …), and I absolutely loved the fact that “it” turned out to be a “she”. A big share of the powerful, cool and odd charaDigger - Ursula Vernoncters of this graphic novel turned out to be a she. It’s a revelation to meet such a gathering of fine and engaging female leads in an adventure story, among them Grim Eyes (a warrior from a matriarchal hyena tribe), Murai (a destined but troubled human heroine) and Surka (a shrew with a new calling).

Yes, that’s a lot of furries! They inhabit quirky and well-rounded societies; and against the bigger backdrop of the odd world Digger finds herself in (filled with useless oracular slugs and hero vegetables, among others), they seem like the most ordinary people whose lives are turned inside out.

Although Digger is a comic, there’s plenty of text, and most of it put a big smile on my face. Digger’s witty commentary on the events made me root for this practical, down-to-earth heroine. As she is hauled into a story of epic dimensions and – for a wombat – terrifying mythical and magical qualities, her deadpan comments keep everything grounded. Aren’t we all wombats here, far from our comfort zone and thankful for every remark to put things into perspective?

What good is a god that does not fossilize?
– Digger

Digger is indeed somehow reminiscent of Terry Pratchett’s Small Gods, and, while we’re at it, also of Jeff Smith’s Bone (in structure and premise). Both of these could inspire a love letter of their own, so for me that’s a big fat bonus. Snarky jokes, witty comments on religion, mythic overtones and sheer epicness aside, Digger goes right into the feels with its unusual cast of characters. It explores themes like domestic violence and ethical education in a graceful, unobtrusive way – and that’s something I have rarely seen done in fiction.

I stumbled upon Digger quite late – it had been published completely then (so I could just tear through reading day and night), it had won its Hugo Award, and it had – to my great disappointment – already finished its crazily successful crowdfunding campaign for a printed omnibus edition (which I still got afterwards, so not all was lost …). I’ve read it multiple times since then. After the first rush of excitement, I’m now able to fully appreciate what an effort it must have been to finish this huge, unwieldy thing. At nearly 900 pages, you need quite a solid table to read the omnibus edition. If they would offer a digital edition someday, I’d go for it immediately, as much as I love to have the big tome with the pickaxe on my shelf.

But back to the travails of the fabulous Ursula Vernon, creator of Digger. It was published as a webcomic, an unplanned work of someone with nearly no experience in the graphic novel field (see this old, old interview). The way the story unfolds, this is quite unbelievable. Kudos to Ursula, for pulling it off over the course of years without getting tangled up in the plot. Yes, there are some meandering parts of the story, but they fit into the whole quirky style and add depth instead of dragging on.
Digger - Ursula Vernon
So, Digger. One of the best things that happened in my life. It showed me how strong female characters could really look like and how the best thing in fantasy still is to get thrown into a world where anything can happen. Not that Digger would approve of it. But I do, a lot, and love this marsupial fiction with all my heart. Or with all my liver, if you’re more inclined to the hyena side of life.

Digger (Ursula Vernon)
Webcomic: 2004 – 2011: start reading here
Omnibus: Sofawolf Press 2013
Paperback (6 volumes): Sofawolf Press 2005-2011