All the Games

After a couple fits and starts, I finished Broken Age. This could warrant a full review, but everything I would want to say can be summarized as follows: excellent characterization, lovely plot that finishes a bit too abruptly, lots of cute little jokes, absolutely beautiful, BUT the gameplay is often frustrating in the worst traditions of adventure games. Two of those points bear emphasizing. One: the art is absolutely gorgeous! A series of screenshots are below, to hopefully support that claim. Two: the gameplay can be so infuriating!

So much of the time is wandering around the map, collecting random items from the environment, from dialogue choices, and from puzzles, then figuring out where the items might ultimately come into play. There’s a lot of backtracking and trading of random crap for other random crap. Sometimes it seems logical, or even obvious; sometimes, the use of an item for a given situation can seem clever. But most of the time, it just seemed arbitrary. The world and the characters were so quirky, lovely, and charming; the plot had some fun twists and pivots and re-connections; but the impact of those elements was lessened as I trudged back and forth in the most point-and-clickiest way possible. You ever find yourself faced with a frustratingly opaque game challenge requiring a specific solution, while you want to scream another, more apparent option? That’s so much of this game for me. Especially when there are so many characters to talk with, it was frustrating to see that being able to propose obvious solutions or to ask obvious questions was just stripped out. In short, the game felt…artificially difficult (or at least its second half did). In the last act, I frequently consulted a guide, increasingly impatient with the bizarro limitations put into place. If you played a lot of classic point-and-click adventure games, though, you might have a more positive experience.

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Besides Broken Age, I also played a couple of weird little indie projects that released to a lot of acclaim but basically passed me by until now.

Octodad: Dadliest Catch is zany and fun, with a surprisingly heartfelt and endearing story under the wacky Saturday-morning-cartoon premise. It’s a fairly short but worthwhile experience.

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Then there’s The Stanley Parable. This was fun, but I lost interest fairly quickly without exploring most of the branching paths and endings. I spent most of my short time with it forcing endings through disobedience. The narration was charming, but I thought the game a bit too clever for its own good (and really, exploring “choice” in a video game and in life has been done more subtly elsewhere, hasn’t it?).

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I also jumped back into Hotline Miami a little bit recently. This game’s just perfect at setting a mood. The jarring, twitchy controls. The bizarre cuts between levels. The splashy blood. The bright colors. The pounding music. The game honestly makes me feel a little ill and a little disassociated after a while, like I’m getting into the head of a psychopath–or as close as I’d want to be, anyway. Gamification of the violence drives home that disturbing feeling, too. It’s a surreal experience, and the gameplay and music provide a powerfully addictive combination. I’ve played the story once or twice, and I’ve also played individual levels on occasion. But I don’t think it’s a game that I could ever 100%–I’d have to spend too much time getting really good at really disturbing shit.

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Moving out of indie games, I’ve returned to Jurassic World: Evolution, as well. A recent update included a new challenge mode. So far, I’ve fiddled around with the easy mode, taking my time, having fun, then realizing in a panic that while I would probably eventually get to 5 stars, I was definitely not going to meet the par time. This could prove to be a quite challenging mode, especially working all the way up to Jurassic difficulty while meeting the par times, and it may or may not be enough to keep me in the game for a while (if only to try to return my status to 100% completion).

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Finally, I’ve been playing ever more of Star Wars: Battlefront II. The 2005 edition, of course. It’s just so fun and easy to hop into even if I don’t have a lot of time to play.

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And that’s all for games. The final post, on television, will follow tomorrow.

All the Books

I’ve finally allowed myself to learn to love audiobooks. They’re great for providing something for me to focus on when otherwise doing a fairly mindless or boring task. But since my multitasking ability sucks, I’ll only listen to things that I’m okay with missing something in. Listening is just not the best way for me to absorb a story (and I’ll never accept that it’s comparable to reading; they’re just apples to oranges–oral storytelling is great, but it is different than written storytelling, and this is real estate in the general vicinity of a hill I’m willing to die on).

Truly, the credit for my newfound acceptance goes to the Indianapolis Public Library’s collections and the accessibility of the Overdrive and Hoopla websites and apps. I’ve already made it through a couple books despite the recentness of this change of heart.

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The first audiobook I experimented with was William Shakespeare’s Star Wars: Verily, A New Hope, by Ian Doescher. I enjoyed the stageplay feel, with a few different voice actors narrating the book. The sound effects were great. I was tickled by the human pronunciations of R2-D2’s whistles, and his internal monologues were a weird diversion. Nonetheless, the novelty wore off quickly enough for me. It’s hard to suggest that this has much merit on its own, after all–it’s entirely about the gimmick of combining Star Wars and Shakespeare. The saturation in pop culture and melodramatic nature of the two draw comparisons, and Doescher obviously put a lot of effort into emulating Shakespeare’s style, but it’s basically what it says on the tin, good for a bit of amusement and nothing more. Still, the production value of the audiobook was so good that I could listen to another in this series.

Star Wars: The Old Republic: Revan was second on my list. My first observation: it has too many subtitles. The audiobook brought life to the story, and it really showcased how good Drew Karpyshyn is at describing action. The narrator’s decisions regarding voices were somewhat disappointing. Revan sounded like bored Batman, even though he was written in the book as a sort of funny guy who was quick to quip and often contemplative. The Sith Lord Scourge sounded like angry Batman. And the female characters–Meetra and Bastila, for instance–typically sounded like man-doing-a-high-pitched-voice (which is, after all, what was happening), so I think the emotional resonance of their characters suffered.

Despite enjoying the action sequences, I don’t like what this book did to Revan and the Jedi Exile. For one thing, it shouldn’t have defined who they were. The KOTOR games were stories set in the distant past, a fable even in the context of the old EU canon. There was no need to have a “canon” series of events–these games thrived on player choice and the consequences of those choices.

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But even accepting a “canon” version of events, it’s icky to have a story where the Jedi Exile acts like a subservient cheerleader of Revan and ultimately dies for him, becoming a Force ghost to keep him alive. Also, these are characters players have a lot of connection to–their tragic ends here are a let-down and seem to exist only to raise the stakes of The Old Republic and make that game seem EVEN BIGGER, LOUDER, AND BETTER THAN THE ORIGINAL (reminds me of the decision to kill off Newt and Hicks in Alien 3). Finally, the game seems to retcon things a little bit, once more in the service of making The Old Republic more important. For instance, and most significantly, the Sith Emperor’s Force-devouring evil is presented as this colossal threat that would even shift Sith to become Jedi allies–but isn’t that reflective of exactly who Darth Nihilus was and what he was up to in KOTOR II?

I liked the similarly over-subtitled Star Wars: The Old Republic: Fatal Alliance (by Sean Williams) when I read it years ago, but in retrospect, I cannot be sure if I was just more into the “edgy” take on Star Wars being offered by the writers of The Old Republic game and media push than I would be now.

The one Star Wars story of the bunch that I really enjoyed was something I read rather than listened to: an ebook version of Star Wars: The Prequel Trilogy: A Graphic Novel (yet another work with too many subtitles). The artwork is clean, colorful, and emotive. Best of all, it’s a masterclass in efficient editing. Each of the films is stripped down into a much tighter, action-packed core. Extraneous fight scenes (and the infamous podrace) are cut down considerably or even (as in the case of the starship fight over Geonosis between Obi-Wan and Jango) cut completely. Some quirky bits of dialogue and some genuinely good character moments get left on the cutting room floor, but almost everything felt improved by the omission. Some things I wish they’d been willing to cut even further. They opened late and ended early on a lot of moments, and yet midi-chlorians remain in, and Anakin’s admission that he killed even women and children in the Tusken Raider village stays as well. Still, given the source material that the graphic novel is operating from, this is probably the best format that I’ve seen the prequels in so far. The weird thing is that this collection seems to have been made with a crew big enough for a small film–it’s difficult to attribute to only a few individuals.

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I also read an ebook version of Dark Horse’s Age of Reptiles Omnibus: Volume I by Ricardo Delgado. The art was gorgeous and dynamic. So much was packed into each panel, and there was such a strong flow from panel to panel. Motion was clearly conveyed. There was a buzzing energy that propels you onward. This comic series appears to have a well-deserved reputation for its entirely visual storytelling. Motivation and emotion are clearly conveyed through dinosaur body language and action. There is no dialogue (obviously–they’re dinosaurs), and there are no descriptive sound effects. All storytelling happens through the art alone. My major criticism would be that the stories are a little too focused on nature red in tooth and claw, but we do see other aspects of the dinosaurs’ lives. The Journey was the most satisfying story (the image here comes from it), epic and yet also somewhat mundane, a slice-of-life story nonetheless replete with death and violence.

That’s it for the books. Next: all the video games.

Swan Watch: Clone Wars Adventures

Bultar Swan stars in “Impregnable,” the third story in the short comic anthology of Star Wars Clone Wars Adventures Volume 7. The script’s by Chris Avellone, with art by Ethen Beavers and colors by Dan Jackson. It’s a fine little action story. Swan, her forces demolished, strides into an allegedly impregnable fortress, slowly dismantling defenses and sealing the surviving commander inside. Locking an opponent in as the life support fails is more “Cask of Amontillado” than Jedi Code, though. I thought the story worked well enough for the format, but I was very disappointed by the use of Bultar Swan as the protagonist. This seems to go against what little character development had already been established for her. A ruthless killer willing to leave someone to die is basically antithetical to what interested me about her in the first place. (And while it goes unaddressed, her ability to simply walk into the fortress certainly suggests she might have sacrificed wave after wave of soldiers for little purpose.)

Plus, she’s silent the whole time, while the despotic villain in the fortress core taunts her throughout. It’s not an unheard-of form of storytelling, and it can work well, but her silence and martial prowess evoke uncomfortable comparisons to the silent, stoic Asian martial artist cliche. In this light, the otherwise forgivable caricature of her facial features that is typical of the style of art employed comes off as a way to accent her Asian-ness while removing much of the character’s resemblance to her film counterpart. There’s even one panel where her face is bathed in a greenish light (which does not affect the warm colors behind her), calling up comparisons to the racist and offensive imagery portraying villainous Asians in mid-twentieth-century America.

Outside of this rather disappointing Swan appearance, I overall enjoyed the anthology, which captured the visuals and action-packed fun of the television miniseries. The first story, “Creature Comforts” (script and art by The Fillbach Brothers, colors by Ronda Pattison) was a near pitch-perfect portrayal of war hero Obi-Wan and Anakin at their wittiest while being tossed from monster to monster. The one misstep is at the end, when Obi-Wan rather cruelly crushes a tiny crab “monster” to stop its cry. It’s meant to be funny but makes Obi-Wan seem like a sociopath rather than a kindly, wizened Jedi Master.

The other two tales try out a girl-power spy story (“Spy Girls,” script by Ryan Kaufman, art by Stewart McKenny, colors by Dan Jackson) and a bank heist gone wrong (“The Precious Shining,” script by Jeremy Barlow, art by the Fillbach Brothers, colors by Ronda Pattison). I might have enjoyed the last story the most, as it showed people caught between the Republic and the Separatists. It presented a level of moral nuance, and a more down-to-earth perspective, that was more likely to be found in the later Filoni-helmed series on the Clone Wars, though it ends in a simple twist of fortune.

The anthology was slender and quick to read. It was mostly fun. Too bad that this was my least favorite portrayal of Bultar Swan yet. At least she got to be an action hero for a little while.

Clone Wars Re-watch Go!

The official Star Wars site is leading a chronological re-watch of The Clone Wars, with new posts by the site’s Associate Editor, Kristin Baver, on Tuesdays and Thursdays. If that sort of thing sounds appealing to you, you can find the first episode recap/analysis here and a list of all the episodes here; the show and the film are available in their entirety on Netflix.

It’s still fairly early in the re-watch, and the pace of two episodes a week is not too demanding, so it’s still an easy time to get started. As of this writing, they’re just now through the film.

There are two improvements about this particular viewing schedule.

First, there’s a more consistent narrative, and it’s easier to see the war–and individual battles–evolving. The show seemed to take a while to settle into itself and didn’t get into long-form storytelling until later on, but part of that is attributable to the fact that episodes were aired out of chronology. With a streaming service like Netflix, the effort involved in hopping between episodes (and seasons, and the film itself) is minimal and the payoff, in having a richer narrative immediately with clearer character development, is big.

Second, this re-watch breaks the film into three acts. Watching the acts on their own, as complete episodes in and of themselves, makes the film just another arc in the series. Its lower stakes (compared to the saga films), meandering pacing, somewhat jarring cuts between acts, and shifting tonal dissonance is forgivable when it’s understood that each episode is doing its own thing. We don’t need to have a galaxy-shaking event every week for the television show; The Clone Wars was often at its best when showing clone troopers with their boots on the ground. And it feels natural to make these divisions–after all, the film was originally a few different episodes of the planned television series, spliced together into a single theatrical release at the request of George Lucas.

Also, treating the film as its constituent episodes rather than a single component separate from the series means that it flows rather well with the supporting stories that chronologically take place earlier. We see Anakin and Obi-Wan break the blockade of Christophsis, deal with loss and betrayal, encounter Ventress, and then meet Ahsoka just in time for a final battle before racing off to beat the Sith to recovering Jabba the Hutt’s child. I wouldn’t point to any part of the film as one of my favorites in the entire series–a lot of it was silly, the animation and character models and storytelling still having had a bit of growing to do. But the Anakin defying Jedi orders in “Cat and Mouse” and the Rex who was just shaken by a betrayal of one of his own in “Hidden Enemy” meeting Ahsoka for the first time and being changed by her even as they provide guidance is a pretty cool thing to see. Plus, the Battle of Teth sequence, with its electric-guitar-and-exotica soundtrack, misty purple forests, and vertical firefight, is a fantastic television experience, even if it’s a bit short and (relatively) quiet for a theatrical sci-fi war film’s centerpiece battle.

Another takeaway from the re-watch: I don’t recall registering just how brutally the war was depicted. Maybe it’s the structure of the re-watch, or maybe I’m just registering because I already know that I got attached to some of these clones. So many die, often in heroically pointless ways. So much of the Battle of Christophsis, for instance, is repeated Jedi over-extension, with the clones dying for Jedi heroics. It’s not remarked on so much yet, but it’s very visible. And while the droids are played for laughs, it’s hard not to read them as sentient, many with full and unique personalities. While Anakin and Ahsoka are quite willing to mow down hostile droids, they do show an endearing love and respect for allied droids, especially R2-D2; similarly, while they are both willing to accept battlefield losses (at least later on), both are fiercely loyal to and protective of Captain Rex.

Similarly, the failings of the Jedi Order are really apparent to me now in a way that they weren’t on my initial watch. While Anakin is unwilling to leave an infant Hutt to die, he thinks it’s a very bad idea to work with the Hutts. Of course he would! They enslaved him and his mother! And Jabba is a notorious criminal! The Jedi and the Republic are willing to throw away principle and get in bed with a slave-dealing criminal organization for a strategic advantage. The war has already skewed their thinking. And while Ahsoka might be old enough to be a Padawan, placing her in command of troops and in the midst of battle is a terrible idea! The use of child warriors is shockingly poor judgment. It’s hard not to see the Jedi as radical religious crusaders at that point. Ahsoka sees so much killing and dying, and while she handles it well, it’s just wrong for the Jedi to have put her in that situation.

One of the weirdest things for me on re-watch is knowing that The Clone Wars represented a sort of soft canon reset before the official Disney reboot. Dave Filoni always showed himself to be aware of the Expanded Universe, even when he changed it. There was more respect for the EU setting than George Lucas ever showed, at least. But still, it was jarring to see an over-complicated, cluttered Clone Wars added to even further with so many new central characters and events when there was supposed to have been so much already documented post-Attack of the Clones. Re-watching with knowledge that this series represents almost the entirety of the “official” version of the Clone Wars relieves a lot of confusion and some mild frustration that younger me had (I’ll admit that I’m also just a lot mellower and less worried about canon issues than I was as a teen).

There’s a new, minor thing that bothers me now though: there is a level of familiarity with the old Expanded Universe, and that causes a new bit of confusion when those stories don’t “exist” within the current canon. Anakin, Obi-Wan, and Ventress have a clear history together. They hint at it a lot in their sparring. At the very least, this would seem to incorporate the introduction of Ventress from Genndy Tartakovsky’s Clone Wars. This makes sense–prior to Filoni’s run, Tartakovsky’s show had been well-promoted, highly praised, and rather visible on Cartoon Network. In addition to introducing Ventress, the show introduced Grievous, and it also showed Anakin’s transition from Padawan to Knight! But we don’t have any canon versions of these happenings, and Tartakovsky’s series now has very little visibility to new audiences. I feel that, at some point, at least certain elements of Clone Wars should be retold in the new canon. We can iron out the continuity contradictions, dial back the hyper-stylized format, and develop certain plot points more, but introducing Grievous and Ventress, charting the early course of the war, and showing Anakin’s growth from Padawan to a Knight ready to train the next generation would be great material for new stories.

Finally, I am struck by how much the chronological re-watch clearly centers the show around Anakin, Ahsoka, and Rex. This is really Ahsoka’s story–she’s present almost from the very beginning, and what comes before in that story directly lays the groundwork for her entrance on the scene. Yes, I know the film came first, but it felt like a separate and detached experience. The show itself started with more of a scattered anthology approach. The impact is rather different when we get this focus on Ahsoka almost immediately, with just enough of Anakin and Rex to see where they are when they meet her. It’s a different experience than encountering the show for the first time with the one-off “Ambush” episode. (And I didn’t even watch the show episodically at first–I was very sporadic and really only got interested in the series after seeing the 1.15 episode “Trespass,” though I later went back and watched in order after picking up the DVDs.)

If it’s been a while since you’ve watched The Clone Wars, or if you’ve never watched chronologically before (or even never watched the show at all), now’s a great time to dive in.

Review: West End Games’ Star Wars RPG, Re-Released

Star Wars: The Roleplaying GameStar Wars: The Roleplaying Game by Greg Costikyan

I first became exposed to Star Wars roleplaying games with Wizards of the Coast’s d20 system. I collected many of those sourcebooks and intermittently played with friends. I dabbled with Fantasy Flight’s newer, narrative-focused system, as well. But the original West End Games version had preceded me; I was born about a year after the publication of the first edition. Yet it held an important place in Star Wars history, keeping interest in the franchise alive at a low point and helping feed the re-ignition of popularity in the early nineties, so I’ve long been aware of it, though never involved with it or truly knowledgeable about its systems.

When Fantasy Flight announced a special anniversary edition over a year ago, I was pretty excited to get the chance to explore this game system. While the release was delayed, that delay was well worth it; this is a worthy addition to the various sourcebooks and systems on my shelf.

There are two books included in this anniversary set: a rulebook and a sourcebook.

The rulebook offers a fairly simple game system oriented around six-sided dice. I imagine that this helped its popularity in the late eighties and early nineties: not only was it more Star Wars to play around in, but it was incredibly easy to throw together the materials to play! Creating player characters (or, for the GM, NPCs and monsters) seems quite simple, with a quick distribution of abilities and a focus more on skills. Plus, any new player could simply grab one of the templates from the back and start with an archetype that allowed for room to role-play while requiring only a few minutes to prepare for the game.

Some of the modifiers and more advanced rules, as usual, got a bit math-heavy and convoluted, but the most complex of those rules were condensed into compact tables across a few pages at the end of the book. And more importantly, the rulebook consistently advised a focus on fun, cinematic, creative, narrative play that prioritized player experience over strict adherence to rules. A GM with a healthy knowledge of the rules and willingness to let things slide as needed, focusing more on working with players to craft a fun collaborative experience, could thrive with this system.

It was funny, then, to see the advertisements in these new editions promoting Fantasy Flight Star Wars game systems. Their narrative RPG is fun, but the need for custom dice plus the necessary learning of the various dice symbols and how they interact seems to actually result in a more exclusionary, rules-heavy environment than that offered by the WEG game, even if less numbers are strictly involved.

The sourcebook was the volume that I enjoyed the most. Even though I knew it influenced a lot of the tone, lore, and language of the EU, I was still surprised and impressed to see how much was still relevant. Even with the new canon, the sourcebook only seldom was directly contradicted. It wisely limited itself to extrapolations from the movies, so even the most specific Clone Wars references can for the most part be easily integrated into the current canon. In contrast, most character descriptions are now outdated and at least somewhat contradicted, and I actually preferred most of the new versions over the old; of all characters, Boba Fett’s remained one of the most accurate still, given the mysteriousness of the character at the time and the lack of hard answers.

Other unique lore elements I actually preferred: droids (or at least the more advanced droids) are definitely treated as sentients who are cruelly held in bondage, and the Force is a mystic religion that allows access to its secrets to just about anyone willing to train diligently under a Jedi Master (downplaying bloodlines and the like, though still keeping Jedi abilities quite limited because it is very clear that the universe intended here has virtually no Jedi left to learn from). Interestingly, the EU and the prequels moved away from some of these ideas, but the newest properties are coming back around to some of these interpretations.

There were very few lore elements in this early version of Star Wars that I actually disliked. The primary element that I found unpleasant: this version of Star Wars is very anthropocentric, and there’s almost as much of a divide between all of humanity in contrast to Aliens as there is between Rebellion and Empire. In a large galaxy, of course there are unaffiliated, unknown, and lost societies out there, and I wouldn’t want that removed from Star Wars. But the newer canon has integrated aliens into a much more diverse version of the galaxy–heck, the prequel trilogy really started that shift. I wouldn’t want to go back to a view where aliens were always so other, where the various non-human races were lumped together simply by being non-human, classified broadly with a capital-A Alien designation. (This version also leans hard into the roleplaying tradition of assigning fairly rigid personality and cultural traits by race.)

In a similar vein, I prefer the newer, more nuanced approach to the Mon Calamari and the Quarren. Their involvement in larger galactic society, rather than being newcomers, makes them less “Exotic.” Still, it’s impossible not to recognize how much has been carried over from the WEG sourcebook. The Mon Cal and the Quarren still shared a homeworld, and the Quarren still felt jealous of the Mon Cal. The Quarren joining with the Separatists, and later realigning with the Mon Calamari, and the Mon Calamari’s oppression under the Empire and early support of the Rebellion, are clearly drawn from elements of their original story. In all things, later Star Wars owes a significant debt to this early attempt at a Star Wars RPG–not to mention that so much of the weird nineties Star Wars short fiction that I love so much emerged out of communities oriented around the game.

Finally, I must point out the charm of the use of movie stills and a wealth of concept artwork to illustrate the various races, equipment, vehicles, and concepts described within.

The original WEG game holds up to the test of time. And this beautiful anniversary edition, with hardcover core rulebook and sourcebook contained in a slim black casing with beautiful cover art, is an excellent version to introduce oneself to it.

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I sure hope that I have the opportunity to play soon. David Schwarz’s recent advice on Eleven-ThirtyEight for leading your own RPG campaign certainly got me thinking about the possibilities just as I was reading through these WEG books. Plus, I’d already accumulated some fun WEG companion books from past convention sellers, providing additional lore and examples of NPC stats to me well before I’d even read the core books…

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I don’t know if I’ll have the time, or even an interested group of friends who would have the same time available, but we’ll see.

Bultar Swan Watch

I’ve been following 365 Days of Star Wars Women, which is exactly what it says on the tin: daily posts about the women in Star Wars–and not just the heroes and villains, but the actors, writers, producers, and film crew as well. It’s a fun way to highlight women’s representation in front of and behind the camera in a franchise that still leans heavily male both ways. I bring this up now because Bultar Swan recently got a post! I’ve written about my fondness for the character before…and it’s not often that she gets much notice.

20171001_150537I’ve reviewed the Powers of the Jedi Sourcebook entry on Jedi Knight Bultar Swan once more. It’s not just that such a minor background character had a write-up, though that was enough to get my attention as a youngling. What’s stayed with me about her is that she was a Jedi who was so familiar with violence and yet made a point to avoid killing in combat. The Jedi are depicted as quite willing to kill, despite Yoda’s admonition that a Jedi “uses the Force for knowledge and defense, never for attack.” It’s veering on an uncomfortable reduction of Chinese martial arts that Swan is written as notable for a unique fighting style “that required her to maintain physical contact with her foes to judge their next moves,” but that fits into the character profile of one who focused on defense and disarming attacks to subdue, rather than disable or kill, an opponent. She knew there would probably come a point in time where she would have to kill an opponent, and while she apparently did not take pride in her mortality-free combat record, she was concerned with how she would react to the taking of a life. She first apprenticed under Micah Giett and then Plo Koon following her Master’s death; when Master Plo mentioned the possibility of her one day joining the Jedi Council, Swan said that she would not be anywhere near ready “until she had more experience with life and the Force,” including understanding how she would react to killing an opponent, before she could sit in judgment over any other Jedi. To me, all the above made Bultar Swan the model Jedi, much like Obi-Wan.

But that opinion must not have been very popular, as she remained virtually unused throughout the years of Legends storytelling following her initial appearance in Attack of the Clones, in which she was portrayed by Mimi Daraphet (Power of the Jedi was published in the same year as the film). The closest to starring role for Bultar Swan was the first arc of the Purge comics. Written by John Ostrander with art by Doug Wheatley, the first story followed a group of Jedi survivors of Order 66 who met in a secret conclave to discuss what to do next; one of the Order had actually betrayed the location of the conclave to the Empire, so that her fellow Jedi would be forced to fight against Vader and hopefully destroy him in a final battle. Swan and Tsui Choi are close to protagonists–to the extent that the protagonist isn’t Vader himself. Swan and Choi argue against seeking revenge against Vader. When they are forced into battle anyway, Swan attempts to stop one of her Jedi by giving in to the Dark Side, and she is killed by her fallen compatriot when he refuses to back down.

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For me, Purge represents a disappointing appearance for Bultar Swan. She has little agency over the story, and she is quickly transformed into a martyr, killed off. I recognize that a story like Purge doesn’t allow for a happy ending, and almost all the Jedi had to be killed off somehow, but aside from highlighting Swan’s embodiment of the Jedi Code, it doesn’t really do anything with her as a character. She’s a prop to show Vader killing some last, desperate Jedi.

Bultar Swan also has a very brief appearance in the 59th issue of Star Wars: Republic (also written by Ostrander, with art by Jan Duursema). Unfortunately, she just provides a few moments of exposition as a subordinate under Ki-Adi-Mundi.

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The 365 Days post references one other Bultar Swan appearance: Clone Wars Adventures Volume 7, in the story “Impregnable.” I’ve never read it, but it turns out that it’s fairly cheap and easy to find online. I’ve ordered a copy. That’ll probably result in a short follow-up to this post somewhere down the line. But given that it’s Clone Wars Adventures, a pulpy action series modeled after the Genndy Tartakovsky cartoons, I don’t expect anything close to a deep examination of the character.

Finally, Wookieepedia informs me that Swan also appeared in the children’s series Star Wars Adventures. I’m not particularly desperate to track that down for what seems to be a minor appearance in a children’s book.

Of course, all of the above representations of Bultar Swan, except for Attack of the Clones, are now non-canon, Legends. The character could be written in an entirely different way now, if she ever really appears at all. Her only new-canon appearance so far is in On the Front Lines by Daniel Wallace. Her character is presented as young, inexperienced, and surprised to see opponents willing to fight back instead of surrender before a lightsaber. There’s nothing that suggests that the original interpretation of the character is invalidated, but I do get the impression that Swan still has a lot more growing to do in this incarnation. It’s enough to know that she canonically survived the battle and was able to recount it, for now.

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What happens to Bultar Swan after she gets a taste of war? Does she soldier on, like a loyal Jedi? Does she recoil at the taking of life? Could she at first be accepting but later rethink the Jedi’s methods as the droids are recognized as increasingly sentient? Maybe she would stay loyal; maybe she would eventually become disillusioned and leave the Jedi Order, like Ahsoka, or stay to attempt to reform it from the inside. Could she have survived the Purge? And if not, how did she meet her end? She’s an excitingly blank slate of a character with just enough motivation and just enough dangling plot threads to remain compelling to me. I really hope that some day she sees more use.

Self-Promotion Sunday

Today I just wanted to make an announcement: Eleven-ThirtyEight, the fantastic Star Wars fan site known for its thoughtful essays produced regularly by its staff writers and occasionally by guest writers, has published an essay of mine: “Droids, Sex, and Consent: Should It ‘Work’?” I’m a fan of the site and its creative team (I guess that makes me a fan of fans), and it was really cool to be able to contribute something and see it published.

Mike Cooper, the editor-in-chief of the site, provided what was, in my limited experience, excellent editorial support. He was restrained in suggesting changes, and the changes he did suggest all improved the work (of course, to the extent that there are any remaining problems with the piece, in craft, perspective, argument, or otherwise, the fault lies with me).

While I certainly hope you’ll check out my essay, I’d like to also suggest that if you haven’t read anything else on Eleven-ThirtyEight, you should definitely peruse past works by its staff writers. They’re an excellent team of creative and critical thinker/writers, and I look forward to reading each new thing to come out of there.