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ROGUE ONE
GALACTIC MAPS
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WARS
GALACTIC MAPS
“AN ILLUSTRATED ATLAS OF THE STAR WARS UNIVERSE
Ilustrated by Tim McDonagh
Written and edited by Emil Fortune
Designed by Richie Hull
Many thanks to Michael Siglain, Samantha Holland,
Pablo Hidalgo, Jason Fry, Matt Martin, and everyone else
‘ho helped pur this book together.
© & TM 2016 Lucasfilm Led
All rights reserved. Published by Disney * Lucasfilm Pres,
an imprint of Disney Book Group. No part ofthis book
may be reproduced of tranisthitted in any form ot by any
means, electronic of mechanical, including photocopying.
recording, ot by any information storage and retrieval
system, without written permission from the publisher.
For information addess Disney + Lucasfilm Pres,
1101 Flower Street, Glendale, California 91201
Printed in Poland
First United States Hardcover Edition, December 2016
13579108642
N919-9514-4-16309
ISBN 978-1-368-00306-3
Library of Congress Control Number: 2016942971
Visie the oficial Ster Wars website af; www starwars com,
aa | Aree
WARS
GALACTIC MAPS
AN ILLUSTRATED ATLAS OF THE STAR WARS UNIVERSE
WRITTEN BY
EMIL FORTUNE
ILLUSTRATED BY
TIM McDONAGH
‘Dieney
PRESS
Los ANGELEs * New York
INTRODUCTION
he Graf Archive covers
the majority of the moon
Orchis 2. Its endless shelves,
galleries, and databanks
contain texts, artworks,
antiques, and preserved plants and
Euitnals from every sector af che galaxy;
Items that cannot be immediately
identified are moved to the underground
Shadow Stacks, where they wait
to be processed, often for many
Race vane ics tess dunt
bates is an important part of an
Archivist's training, a kind of final
exam, The challenge is to come back
with an unexpected treasure. It can
be dangerous, as one young student
discovered when the mummified ghest
he was examining turned out to be
merely-hibernating. ..
"These ancient hand-drawn maps were
unearthed from the Shadow Stacks by a
far luckier student. The Head Curator's
theory is that they are the work of the
reat Ithorian artist Gammit Chond.
re kaiow very little alee he “fesy
of his works have survived—but these
maps show much of his characteristic
style and flair.
Chond never traveled off-world, and
it is rumored that he never ventured
more than a day's walk from his home.
However, he was fascinated by the tales
of travelers, and many of his works
depict their stories peacienice in the
rest of the galaxy.
Of course, these maps are not strictly
accurate, No one should try to cross the
Jundland Wastes using Chond’s map of
Tatooine. The artist was more interested
in the feel of these strange worlds and the
galaxy-shaking events that took place on
them.
These maps seem to be centered on the
saga of the legendary Skywalker family.
ile many of the things Chond has
included are facts, some may merely be
tales spun by explorers. Together, it all
presents a unique view of a fascinating
slice of history.
After several years of painstaking
restoration, it is my great privilege, and that
of the Graf Archive, to present this never-
before-seen collection of art to the galaxy.
—Amel Fortoon,
Director, Graf Archive
==
2 f-=aio
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32 BBY
TIMELINE
This timeline describes the period of history covered in
these maps, from the Clone Wars between the Republic
and the Separatists, to the Galactic Civil War between the
Empire and the Rebel Alliance, and beyond. Z
Dates in this book are given using the “asy-aay” dating Fa wey
system, which is centered on the Battle of Yavin, when the
first Death Star was destroyed. Therefore, 5 sy is five years
before the Battle of Yavin, and 5 any is five years after.
‘The galaxy is governed by
the Republic, On the capical
world, Coruscant, senators
from a thousand worlds meet
to debare the future while the’
Jedi Order maintains peace
and harmony.
‘The powerful Trade Federation,
which controls galactic trade,
bullies the remote world
Naboo. Two Jedi, Qui-Gon
Jinn and Obi-Wan Kenobi,
are sent to negotiate peace.
However, the Trade Federation
tries to assassinate the Jedi and Sd
sends its bactle droid armies
to Naboo to capture Queen
Padmé Amidala.
Qui-Gon Jinn and Obi-Wan
Kenobi rescue the queen but
are forced to flee. Their ship
needs repairs, so they stop
on the remote desert world
‘Tatooine, Here they meet a slav.
boy named Anakin Skywalker,
whose potential as a Jedi is the
greatest Qui-Gon has ever seen.
‘The Jedi win Anakin’ freedom
and take him away with them.
‘The Jedi escort Queen Amidala
to Coruscant, but she cannot
persuade the Senate to help
Naboo. She returns to her
homeworld with Qui-Gon,
‘Obi-Wan, Anakin, and their
Gungan friend, Jar Jar Binks.
‘The Gungans fight a bartle
against the Trade Federation's
droid army as the queen retakes
her palace.
A sinister and deadly assassin—
the Sith Lord Darth Maul—
has been tracking the Jedi. He
and his master, Darth Sidious,
are secretly behind the Trade
Federation's invasion. In a
fierce battle beneath the city of
Theed, he slays Qui-Gon Jinn.
But Obi-Wan cuts Darth Maul
in half, seemingly destroying
‘The Gungans and the Naboo forces
defeat the droid army with the help
of Anakin Skywalker. The Trade
Federation is forced to withdraw.
Senator Palpatine of Naboo
is made Supreme Chancellor.
Secretly, he is the evil Sith
Lord Darth Sidious. He plans
to start a galactic war to scare
the Republic into building up
the military he needs in order
to seize absolute power for
himself.
The former Jedi Master Count
Dooku has sparked a crisis,
with his Confederacy of
Independent Systems—the so-
called Separatists—threatening
to splic from the Republic. The
Senate must decide whether or
not ro create an Army of the
Republic, Padmé Amidala, who
is now a senator, is a major
opponent of this plan.
A series of attempts on Senator
Amidala’ life leads Obi-Wan
Kenobi to the planet Kamino.
Here, he discovers an army of
dlones. They were secretly ordered
by anow-dead Jedi Master and
are based on the bounty hunter
Jango Fett, who is the assassin
Kenobi has been secking, He
follows Fett to Geonos
‘Anakin, now a Jedi apprentice, is
assigned to protect Padmé. They
travel to Naboo together, where
they begin to fall in love. But
‘Anakin is troubled by dreams
about his mother, Shmi, whom
he was forced to leave behind on
Tatooine many years ago.
On Tatooine, Anakin discovers
that his mother has been
kidnapped by the Sand People.
~ He is unable to save her life,
and in a rage, he slaughters the
entire tribe.
Obi-Wan is captured on Geonosis
by the Separatists. They also
capture Anakin and Padmé when
the couple tries to rescue Obi-Wan.
Jedi Master Mace Windu leads
a team of Jedi to the rescue,
backed by the clone army
that now serves the Republic.
Windu slays Fert, but Count
Dooku escapes, pursued by
Anakin Skywalker and
Obi-Wan Kenobi.
The Jedi catch up with Dooku,
but he reveals thar he is che Sith
Lord Darth Tyranus, the new
apprentice of Darth Sidious. He
easily defeats both Anakin and
Obi-Wan. Ieis only the last-
minute intervention of Grand
Master Yoda that saves them.
Dooku is forced to fice, but his
work is done. The Republic now
has its army.
‘On Naboo, Anakin marries
Padmé Amidala in secret.
Meanwhile, the Clone Wars have
begun as the Separatists under
Count Dooku battle Palpatine’s
Republic armies.
‘The armies of the Republic are
now led by the Jedi. Master
Kenobi and Jedi Knight Skywalker
defeat a Separatist invasion of the
planet Christophsis with the help
of Ahsoka Tano, Skywalker’s new
Padawan apprentice.
‘The Separatists attempt co turn
the planet Rodia against the
Republic, capturing Senator
Amidala. She escapes with the
help of Jar Jar Binks and keeps
Rodiss support.
With the help of the Twi'lek freedom
fighter Cham Syndulla, Master Mace
‘Windu retakes the planet Ryloth
from the Separatists. Their heroic
actions are long remembered in song
among the Twi'lek people.
Republic forces launch a massive
attack on Geonosis, the home of
the Separatist’ droid armies. They
‘The Nightsisters of Dathomir
attempt to assassinate Count
Dooku. In revenge, he sends his
army, led by General Grievous, to
destroy them. Despite the witch
(Old Daka raising an army of the
undead to oppose his droids,
Grievous is successful.
‘The former Sith Lord Darth Maul,
who was thought to have perished
during the Battle of Naboo,
resurfaces with his fearsome
apprentice, Savage Opress. Now
equipped with cyborg legs, he
seeks revenge on his one-time
master, Darth Sidious, and his
enemy Obi-Wan Kenobi.
Onderon’s king, Sanjay Rash,
sides with the Separatists. With
the help of Absoka Tano, a
group of rebels led by Steela
Gerrera and her brother Saw
fights bravely to resist them. The
Onderon rebels would eventually
form part of the Rebel Alliance.
Mauls Shadow Collective,
formed of Death Watch
members and various criminal
gangs, takes over the planet
Mandalore. As revenge on
Obi-Wan Kenobi, Maul kills
Duchess Satine Kryze, for whom
Kenobi had strong feelings.
Maul’ victory is short-lived, as
Darth Sidious arrives to defeat
both him and Opress.
Ahsoka Tano is framed for
a Separatist bombing by the
traitorous Jedi Padawan Barriss
Offee, Though her innocence is
eventually proven by her master,
Anakin Skywalker, she decides
to leave the Jedi Order.
The Separatists attack
Coruscant and kidnap
Chancellor Palpatine,
Skywalker and Kenobi mount
a rescue. Skywalker defeats
Dooku in single combat, and
Palpatine goads him into
killing the Count, who was
secretly his own apprentice.
i A
Though he is the hero of the
bartle of Coruscant, Anakin is
troubled by the Jedi’s mistrust of
him and his mentor Chancellor
Palpatine. He is also plagued by
dreams that seem to predict the
death of his wife, Padmé.
Anakin discovers that
Palpatine is Darth Sidious,
bur the Sith Lord promises he
can help save Padmé. When
Mace Windu tries to arrest
the Chancellor, Anakin helps
destroy Master Windu. He
falls to the dark side and his
new master names him Darth
Vader.
Vader is sent to the Jedi Temple
to massacre all those he finds
there, Meanwhile, Palpatine issues
Order 66 to the clone army—a
secret command enforced by a
chip in the ones brains that
compels them to assassinate the
Jedi. Almost all the Jedi perish,
though Obi-Wan Kenobi and
Grand Master Yoda survive.
p)) in orbic above Mustafa. A daring
(On Utapau, Obi-Wan Kenobi’
clone troops have comered
General Grievous, but they turn
their fire on Kenobi as Order
6 is issued. Obi-Wan escapes
and duels Grievous, killing the
cyborg.
Grand Master Yoda goes to
the Senate on Coruscant t0
confront Darth Sidious, but he
is unable to defeat the Sith Lord
in combat. The Jedi retreats and
exiles himself to the swampy
planet Dagobah.
Vader travels to the lava world
Mustafar, where he slays the
Separatist leaders, ending the
Clone Wars for his master.
Obi-Wan follows him and
defeats him in an epic duel.
Vader’ injuries are severe and
requite him to wear a black
cyborg suit of armbr to survive.
Padmé Amidala gives birch to
wins, Luke and Leia, bur does
not survive, Luke is hidden on
‘Tatooine with the Lars family,
and Leia is adopted by Senator
Bail Organa of Alderaan.
Supreme Chancellor Palpatine
declares himself the Galactic
On the remote planet Lothal,
a group of rebels led by Hera
Jedi Padawan Kanan Jarrus is
street thief, joins the crew of their
in the ways of the Jedi.
4epy After many battles, Kanan
Jarrus is captured by the Grand
Inquisitor, a fearsome Jedi hunter.
He is taken aboard Grand Moff
Tarkin’s flagship, the Sovereign,
raid by his friends frees Jar
who then defeats the Inquisitor in
combat, The Inquisitor and the
Sovereign are both destroyed.
A covert team of rebel agents is
tasked with a crucial mission—
to steal the plans of the
Empire's new battle station, the
Death Star. The mission is led
by Cassian Andor and Jyn Erso.
‘The Rogue One team goes to
the planet Jedha.
Synillla of Ryloth and the former
formed. Ezra'Bridger, an orphaned
ship, the Ghost and begins to train
tee
3 ABY
Darth Vader captures the
Tantive IV and its passenger
Princess Leia Organa, the
senator from Alderaan. He
accuses her of being a rebel
traitor who possesses the
Death Star plans, but the
princess has already sent chem
off the ship, in her droid
R2-D2.
R2-D2 and his counterpart,
C-3PO, meet Luke Skywalker
on Tatooine and take him to
meet Obi-Wan Kenobi. When
the Empire kills his aunt and
uncle, Luke decides to train as
a Jedi and to fight for the rebels
against the Empire.
Luke, Obi-Wan, R2-D2, and
C-3PO travel to Mos Eisley
spaceport, where they hire Han
Solo and Chewbacca to take
them and the secret plans to the
rebels on Alderaan, They travel
in Solos ship, the Millennium
Falcon, to Alderaan, only to
discover that the planet has
been destroyed by the Death
Star. The crew rescues Leia from
Imperial custody and they flee
to the Millennium Falcon.
Obi-Wan confronts his former
pupil, Darth Vader. He sacrifices
himself, becoming one with the
Force, as his friends make their
escape. The Empire tracks the
Falcon to the moon Yavin 4.
As the Death Star closes in on
their base, the rebels launch a
desperate starfighter raid against
the battle station. Using the
Force, Luke Skywalker fires the
shot that destroys it, earning a
key victory for the Rebellion.
Darth Vader sends probe
droids across the galaxy
and eventually locates the
new rebel base on Hoth.
His invasion force is able to
destroy it, but not before the
rebels escape. Meanwhile,
Luke is visited by the spirit of E
Obi-Wan Kenobi, who tells Ba 39
him to travel to Dagobah.
|
Luke meets Yoda on Dagobah
and begins his Jedi training.
Han, Leia, Chewbacca, and
the droids stop at Bespin to
repair the Falcon, unaware that
Vader's bounty hunter Boba
Fett has tracked them there.
3any Vader captures Luke’ friends
and freezes Han Solo in
carbonite, Han’ friend the Baron
Administrator of Cloud Ciry,
Lando Calrissian, struggles with
his conscience as Boba Fett takes
Solo away as a trophy for Jabba
the Hutt.
Luke travels to Cloud Ciry to rescue
his friends. He confronts Vader, who
defeats him in a duel, Vader reveals that
he is Luke’ father and Luke narrowly
escapes in the Millennium Falcon,
Leia, Lando, Chewbacca,
R2-D2, and Luke rescue Han
Solo from Jabba’s palace on
Tatooine, slaying the vile
gangster, Luke is now a full-
fledged Jedi Knight.
Luke returns to Dagobah,
where his master Yoda has
reached the end of his life. The
ancient Jedi tells Luke about
his family—including the fact
that Leia is his sister—and
becomes one with the Force.
‘The Rebel Alliance is informed
that a second Death Star is
nearing completion and that
the Emperor will be on board.
The rebels plan to destroy it
in an all-our attack. Their fleet
assembles for the raid, without
realizing that it is a trap and
the battle station is already
operational.
Han Solo leads a commando
team to the sanctuary moon
of Endor to destroy the shield
generator protecting the Death
Star. The rebels meet the
Ewoks, who help them.
Luke Skywalker strikes down
his father, Darth Vader, but
refuses to kill him, knowing
that would lead him to the
dark side. The Emperor
decides to kill Luke, but
Anakin Skywalker cannot bear
to see his son destroyed and
instead sacrifices his own life
to defeat the Emperor.
Luke escapes the Death Star.
With the shield down, Lando
Calrissian and Wedge Antilles
destroy the battle station, Not
long afterward, the Empire is
finally defeated at the Bartle of
Jakku, and a New Republic is
Kylo Ren, the dark enforcer
of the First Order, seeks a
map to the location of Luke
Skywalker, who has withdrawn
from galactic affairs. Howevet,
the explorer Lor San Teka
has already given it to the
Resistance’pilot Poe Dameron
and his droid, BB-8.
A Fitst Order stormtrooper,
FN-2187, and a scavenger,
Rey, are brought together on
Jakku with BB-8. They flee the
First Order in a stolen ship,
the Millennium Falcon, found
in a junkyard. Soon they are
intercepted by Han Solo and
Chewbacca.
Han Solo takes FN-2187—
now Finn—and Rey to
Takodana. He asks Maz
Kanata to arrange passage for
BB-8's precious data, The First
Order learns of this, and Kylo
Ren attacks, capturing Rey and
destroying Maz’s castle.
The Resistance must
attack the First Order's
superweapon, Starkiller base,
after it destroys the Senate
along with the Hosnian
system. A small ream will
travel to the base to take
down the planetary shields so
that fighters can attack.
Finn, Han Solo, and
Chewbacca fly the Millennium
Falcon to Starkiller base and
meet Rey, who has freed
herself from Kylo Ren's
clutches. Together, they
manage to take down the
planetary shields and plane
explosives,
Han Solo pleads with his son,
Ben—now known as Kylo
Ren—to turn away from the
dark side. But Ren embraces
the darkness within himself,
and slays his father.
With her Force abilities
suddenly awakened by
the danger, Rey takes the
lightsaber of Lutke Skywalker
and defeats Kylo Ren in battle.
Poe Dameron leads his X-wing
squadron in an attack run on the
Starkiller and fires the shots that
destroy the monstrous weapon.
HistroricaL Figures
This turbulent period in the history of the galaxy
produced many valiant heroes and terrifying villains.
From the Clone Wars to the Galactic Civil War and
beyond, here are some of the famous—and infamous—
faces in this book.
=|
S
The elected queen and senator from
Naboo, Amidala fought desperately
_agzins che invading Trade Federation
aed brought the Jedi nto the war. Her
secret marriageto Anakin Skywalker
coded tragically, ashe fell wo the dark
fide. A heartbroken Padmé died shorly
afer giving birth to Luke and Lea
‘The rebel pilot Wedge Antilles had the
distinction of helping destroy not one
‘was one of the
ike force atthe
The ruthless and deadly Duros bounty
Ahanter was famed for his exploits during
the Clone Wary—a daring holocron
theft from the Jedi Temple, a prison
beak on Coruscant, and the kidnap
sf the Republics Supreme Chancellor,
Palpatine. There was no job he would
not take on-—For the right price.
‘The roguish gambler Lando Carissian
lost his ship the Millenia Falcon wo
his fiend Han Solo ina game of rabace.
Late, as Baron Administrator of Cloud
City he betrayed Solo to the Empire
bout soon had a change of heart. General
alrissian helped the rebels destroy the
second Death Star atthe Butle of Endo.
‘The galuny’s mos feared bounty hunter
Jango Fete was chosen asthe genetic
template for the Republics clone
coopers as part ofa plot by the Sith
Lords Chancellor Palpatine and Count
Dooku, He fought Obi-Wan Kenobi on
amino and was killed during the Battle
‘6 Geonoss by Jedi Mastex Mace Wind.
map to Luke Skywaller by his master.
After meeting Rey and Fina, he managed
rescue. Later, he became a representative
to succeed in his mission. BLS was 3 for his planet in the Galactic Senate
clever and'resourceful droid, well aware ‘unwittingly helping Chancellor
of hr ability co charm. Palpatine seize absolute power.
‘With his pareots arrested by the Empite
for rebellious activites, Era grew up
‘on the streets of Lothal’s Capital City,
stealing to survive A chance encounter
withthe former Jedi Kanan Jarrus and
this Spectre cll led Ezra to become
Jarras’s apprentice and part of the early
Rebel Alliance.
‘A provocol droid built from spare pares
by Anakin Skywalker, in his childhood
‘on Tatooine, C-3PO was flent in over
seven million forms of communication
Despite his anxious nature, C-3PO
played a pivotal role in the Galactic Civil
‘War, alongside his constant companion
and counterpart, R2-D2,
The legendary Wookice Chewbacca Poe Dameron was an ace pilot forthe
fought forthe Republic i the Clone Republic who was ecruted by General
‘Wars and later gained fame as one ofthe Organa for ber Resistance
eres ofthe Bete of Vv He tnd is
friend Han Salo became key figures ia
the Rebellion. An ace pilot ard engincer,
‘Chewbacca was also a mighty warioe
and crack shot with his boweaster
Dooku trained as che Padawan of Jedi
Master Yoda and became a Jedi Master
Ihimslf. He came to belive the Republic
‘was corrupt and lef o rane a Separatist
army against it. As che Sith Lord Darth
‘Tyranus, he was the apprentice of Darth
Sidious until his master betrayed him.
He was billed by Anakin Skywalker
GeNeRAt GRIEVOUS |
Boba was a clone of his “father,” Jango
Fett and asa boy winemed his death ac
of edi
Hee grew wp ta become one of the
salasy’s most dangerous bounty hunters.
"Near the end of the Galactic Civil Wan,
hh fll into a sarlace pit on Tatooine
while workiag for Jabba the Hutt
people and fed the First Order withthe
Resistance pilot Poe Dameron, who
| Opr-Wan KeNosi
SS
The Kaleesh warrior Grievous wat «
Fearome cybony with amon al of his
‘nginal body replaced by mechanical
‘apgrades” Trined in lighter combat
ty Coat Dook, Grievous became a
ey Separatist general commanding ast
droid armies. He was led by Obi Wan
Kenobi near the cod ofthe Clone Wars
eat bronght hin Han
emer employe, Jabba
Tan le eee oe oo
wall of his throne room. When Lake
Skywalker rescued Han, Printout Leia
‘stayed the Huns,
SF sn aka hc Nips ba
app by
‘Maul, a Zabrak from Dathomnir, was
‘Darth Sidious asa child.
Mon Cata: The vast oceans of
Mon Cala are home to the Mon
Calamari and Quarren species.
A bitter struggle between the
two led ro the groups’ taking
opposite sides during the Clone
Wars. The Republic defeated the
Separatists, and Lee-Char of the
Mon Calamari proved himself
in battle, becoming king.
‘The planet suffered under
the Empire, and the Mon
Calamari became key allies of
the rebel
commander of the rebel
the Battle of Endor.
Mon Calamari ships were some
of the largest and most powerful
in the rebel fleet.
Aparar: A barren world rich in
thydonium. During the
‘Wars, the Separatists loaded
a stolen freighter with this
lone
explosive and tried to use it to
blow up a top Republic military
conference. They were thwarte
by D-Squad, a covert team of
droids led by
Gascon.
Colonel Meebur
Morasanp: The desolate
homeworld of the Sith holds
many evil secrets. In the Valley
of the Dark Lords, the combs
of powerful Sith are haunted by
the presence of the dark side.
Yoda traveled here as part of
quest to discover the secret of
immortality and encountered a
Danroomne: Once used by the
Rebel Allian:
the location
as a base, it was
iven by Princess
Leia to Grand Moff Tarkin
when he demanded she reveal
the rebel headquarters. B
Dantooine was too remote to
ause
demonstrate the Death Star's
power, Tarkin targeted her home
planet of Alderaan instead.
Mortis: Discovered by the Jedi
Anakin
myster
ywalker, Mortis is a
ous realm resembling a
bizarre planet whose landscape
changes constantly. It was
home to three powerful Force
wiclders, the Daughter, the Son,
and the Father, who represented
the light, the dark, and balance,
respectively.
and mountains, haunted by
witches and rancors, Dathomit's
ightsisters were one of the
known groups of Force-users
who were neither Jedi nor Sith
until conflict with Darth ‘Tyranus
and Darth Sidious led to one of
their clans being massacred.
QueRMiA: Home to the
Quermian species—tall, pale
humanoids with long necks and
two pairs of arms.
Quermian Jedi Master Yarael
Poof was a respected member of
the Jedi Council, known for his
skill with diplomacy, illusions,
and mind tricks.
cia: Felucia’s position in
the middle of an important
ypersp:
target during the Clone Wars.
lane made it a ke
Many battles were fought for
control of it. The planet itself is
rm world with great jungles
of fungus. It is noted for its
production of the valuable
healing herb nysillin.
Iron: The peaceful Ithorian
people, sometimes known
as “hammerheads,” tend to
the sacred jungles of their
homeworlds. They are known
for their remarkable farming
technology. The Galactic Empire
forced them to reveal their
secrets in return for sparing the
planeta devastating invasion.
‘SERENNO 55
- ==
is: The capital of the
Confederacy of Independent
Systems during the Clone
Raxus is a beautiful world of
forests, plains, and oceans.
From here, Count Dooku
sparked the Separatist Crisis
that led to the Clone Wars and
the fall of the Republic
Republi
Palpatine control of the galaxy’s
largest ban
i
=<
Scario: The InterGalactic
Banking Clan, one of the most
important organizations in the
Outer Rim, was based on the
y planet Scipio. During the
Clone Wars, this key Separatist
planet was captured by the
giving Chancellor
ig system.
Jewucan: A world of ice and
towering mountain peaks
Jelucan was settled in two waves
of colonists—the second-wavers
became rich miners while the
first-wavers clung to their more
rigid mountain traditions. Ic is
notable as the homeworld of
star-crossed lovers Thane Kyrell
and Ciena Ree.
\ Morasanp
ae
Serenno: A forested world that
was home to Count Dooku,
one of the central figures of
the Clone Wars. An aristocrat
who gave up his title to join
the Jedi Order, he later became
disillusioned and left to form
the Separatists. He was also,
secretly, Darth Tyranus,
apprentice to Darth Sidious.
Loi Say
Sayu is a purple jewel of a
planet. It is volcanic, with a
cracked surface through which
lakes of lava bubble up. Ie was
once the site of a Jedi prison
called the Citadel. When
‘rom orbit, Lola
the Separatists took over the
planet, they used it to hold Jedi
prisoners of their own.
Styceon Prime: The snow-
capped mountains of Stygeon
Prime hid the high-secu
prison known as the Spire.
Darth Sidious imprisoned
former apprentice Darth Maul
here. He also kept the remains
of Jedi Master Luminara Unduli
here to lure in any Jedi who
survived the Order's destruction.
Manripuw: A grass-covered
planet, home to the peace-loving
Lurmen. It was used to test a
new Separatist weapon, the
Defoliator, which destroyed
life but not technology—like
the Separatists’ battle droids.
‘The scheme was foiled by the
Jedi Ana
Tano, and Aayla Secura.
in Skywalker, Ahsoka
Yavin 4: The small jungle moon
that served as a base for the
Rebel Alliance fe
the first Death Star.
its assault on
This rebel base location was the
by the
rebel leader and senator Leia
Organa during her interrogation
by Darth Vader.
crucial secret held bacl
ee
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Kar: The shipyards of Kuat
are famous throughout the
xy. Here, the Republic’
clamator assault ships and
’s Star Destro}
were built. A vast man-made
ring of factories and spacedocks
encircles the planer, allowing
huge vessels to be built in
orbit.
Lornat: A quiet and peaceful
agricultural world known for
its jogan fruit. At first, Lothal
welcomed the Galactic Empire
However, the Empire soon
n to oppress and exploit
Lothal, strip-mining ic for
minerals. A famous cell of rebels
formed here and won notable
victories
ALDERAAN: Known for its
stunning natural beaury,
Alderaan was one of the oldest
members of the Galactic
Republic, a peaceful world
whose people valued art and
culture, Because of its leaders’
secret
upport for the Rebel
Alliance, it was destroyed by the
Empire using the Death Star.
Manpatore: The Mandalorian
people were once renowned
as fierce and deadly
warriors. However, the New
Mandalorians have tried to put
the violence of the past behind
them. They are opposed by
terrorists like Death Watch,
operating from their exile on
Mandalore’s moon, Concordia
ene of the infamous
Antar Atrocity, carried out by
Grand Moff Tarkin as
to former Separatists.
Banas: A primitive world on
visited by C-3PO and R2-D2
The planet’ ruler is a hologram
randed
created by a group of
pit droids,
Onderon’s thick
re inhabited by deadly
The humans on this
planet live in cities protected by
thick walls, such as the capital
city, Iziz. A key rebel leades
Saw Gerrera, waged a guerrilla
campaign here against the
occupyin;
the help
paratist forces with
the Jedi.
An important Core
for its ships and
pilots. Han Solo and Wedge
Antilles were born here, and
the Corellian Engineering
Corporation manufactured the
YT-1300 light freighter the
Millennium Fi
one of the fast
Icon, known as
st ships in the
galaxy
Orp Manrett: A mount
world covered by thick, pinkish
nous
clouds and inhabited by Falleen
and humans, Ord Mantel is
well known as a base of the
Black Sun gang. During the
one Wars, Maul’s Shadow
Sollective took over the Bla
Sun and fought a bar
against the Separatists.
Coruscant: Capital of the
Republic and, later, the Galactic
Empire. Itis a planet covered by
a vast city of skyscrapers, rising
into the sky.
After the Galactic Civil War,
the Galactic Senate of the
Republic moved from system to
system on a rotating basis.
ISN: During the Clone
s, one of Ruusan’s thre
moons hid a Separatist base,
Skytop Station, eavesdropping
on Republic transmissions.
2 us took the
iprured R2-D2 here to unlock
the Republic’s secrets in his
databanks. The droid was
rescued by Anakin Skywalker.
eneral Grie
Garet: Briefly the hiding place
of the rebel cell led by Hera
Syndulla and Kanan Jarn
during the Imperial years
Gorse: A mining world,
with one side permanently
in dark
blazing sunlight. Kanan Jarrus
met Hera Syndulla here.
-ss and the other in
Sateucami: Many people who
wished to escape the chaos
ne W settled on
leucami, including
clone trooper Cut Lawquan
who deserted to raise a family.
Eventually, war did reach the
planet as the Republic and the
Separatists clashed in one of
the final battles of the conflict.
Hosw1an Prime: With the
Empire def
Republic rose from the ashes. Its
capital was changed by
every few years. While the
Senate was based on Hosnian
ted, a New
Prime, the First Order used
Starkiller base to destroy the
stem, the Senat
the Republic’ fleet.
Suanniwoue: Lightning s
the mountain
Jevu.
Jedha ws
pilgrima
‘occupation,
An ancient world,
once a place of holy
e. During Imperial
xtremist rebel Saw
Gerrera had a hideout here.
Kasuyyyk: The Wookiee
homeworld, known for it:
majestic wroshyr trees. Ci
spiral around their huge trun
Sun he homeworld of the
Togruta, who are instantly
recognizable thanks to their
brightly patterned skin, head-
tails, and montrals—hollow,
cone-shaped horns that allow
the Togruta to track movement.
Two famous Jedi were from
Shili—Jedi Master Shaak Ti and
the Padawan Ahsoka Tano.
Kessti: One side of this world
is lush and beautiful. Elegant
palac quisitely
tended grounds sit among green
forests and crystal lakes. On
the other side of the world, vast
colonies of slaves labor in the
infamous spi Spice
smugglers can make vast profits
on the “Kessel Run.
s and their
min
Tern: A mountainous jungle
planet in a Hutt-controlled area
of Wild Space.
inhabited by the bizarre monks
ch was once
of the B’omarr Order, whose
transplanted into
droid bodi
brains we:
Tt was
the scene of the daring rescue
of the infant Rorta the Hutt by
Anakin Skywalker.
RArTATAK
6
gers comb the debris for
salvage. One scavenge
abandoned on Jakku as a child
and was later caught up in the
struggle between the
and the First Order.
Asepnepo: Emperor Palpati
last cruel order, Operation:
Cinder, was a revenge scheme
as to be put into effect
upon his death. It targeted
entire worlds for destruction,
including Abednedo. An
Abednedo pilot, Ello Asty,
later flew for the Resistance at
Starkiller base.
9
Matastare: The homeworld of
the Dug species, Malastare is a
forest world whose core is rich
ble fuel. During the
rs, the Republic tested
an electro-proton bomb hei
designed to knock out droid
armies, However, it awakened
the colossal Zillo Beast, which
then went on a rampage.
Nano: One of the galaxy's
most beautiful worlds, with lush
grasslands, winding rivers, and
tall waterfalls. The crust of the
planet is riddled with holes and
passages, which are filled with
water. These can be used as a
quick me
from one part of the planet to
another.
s of submarine tra
Barporms
mountainous planet whose
people are fascinared by
m. During the Clone
Jedi Master Mace Windu
and Jar Jar Binks foiled a plor
by a sinister cult to drain
Bardotran Queen Julia's life
energy and channel it into their
leader, Mother Talzin.
frozen,
Naboo was the homeworld of
the Sith Lord Darth Sidious.
Born Sheev Palpatine, his
scheming made him first
a senator, then Supreme
Chancellor, then Emperor. Th
Trade Federation's invasion of
his home planet was one of the
first moves in his grand plan to
seize control of the galaxy.
Bornawut: Dense rings of
asteroids around the gas giant
Bothawui offer a masterclass
for pilots, who must be highly
skilled to navigate them. It
was the scene of a major space
battle during the Clone Wars,
in which the tactical genius of
Anakin Skywalker helped defeat
nneral Grievous.
Quarzire: The surface of
Quarzite cannot support life.
Is inhabirants, the Belugans
and the Kage, fought a long war
for control of the underground
crystal caverns. Access to these
caverns is only possible using
a giant turbolife, which leads
from an orbiting space station
down into the planet's crust.
Crea: A beautiful world,
largely unspoiled by the ravages
of technology. It is home to the
Cerean people, whose towering
cone-shaped skulls contain a
binary brain. Ki-Adi-Mundi
was a famous Cerean Jedi
Master who won m
during the Clone W:
Galactic Ma
victories
cover the surface of Christophsis
with tall jagged peaks of
turquoise rising from fields
of hexagonal “tiles.” A fierce
battle was fo
early days of the
in which generals Kenobi and
Skywalker triumphed over the
Separatist Whorm Loathsom,
t here in the
lone Wars,
Devaron: A green and ple:
world of forests, rivers, and
tropical jungles, inhabited by
the Devaronian species. The
Jedi Temple on D.
ing the Clone
wage
yaron Was
-w Jedi Master
yr. uke Skywalker
his lightsaber skills he:
Evpor: This small forest moon
orbits the gas g
name. It is home to the furry
int of the same
Ewoks, the swamp-dwelling
Duloks, and the Yuzzums of the
slands. Endor was famously
the scene of the titanic battle
in which the second Death Star
yyed and Emperor
Palpatine perished
was de
Gronosts: An arid world whose
insectoid inhabitants were
skilled in engineering,
factories of Geonosis created
millions of battle droids for
the Separatists, and the Empire
began to construct the
Death Star in orbit. Later, the
planet was sterilized, killing
almost all life.
Phe vast
Rartatak: A dry, rocky world
plagued by the attacks of pirates
and warlor
Ha
young Asajj Ventress.
Hal’Sted was killed on Rattatak,
the Jedi
Ventress and began to train her.
His death at the hands of pirates
led her to fall to the dark side.
larec took in
P Gionoss
Ropu
of swamps and jun;
Awwarm, damp planet
Rodia
is the homeworld of the Rodian
species. During the Clone
Wars, Rodia wavered between
supporting the Republic and
supporting the Separatists,
but eventually Senator Padmé
Amidala helped sway them to
the Republic's cause.
‘Takopana: Situated halfway
between the Core worlds and
the wild frontier, Takodana is
a popular stop for travelers,
plorers, fugitives, and
smug
Maz Kanata owned a castle
here, where strang
Jers. The famous pirate
beings from
all over the galaxy gathered to
relax or do business.
‘TATOOINE:
there is on dusty Tatooine has
What little moisture
to be extracted from the air by
vaporators and is crucial to the
survival of life. Humans and
others scratch out a living here
alongside the native Tusken
Raiders—also known as the
Sand People—and the Jawas
who scavenge the sands
largely lawless world,
Tatooine is controlled by the
Hutt clans and is a hub
criminal i
deadly podraces and back-room
sabacc games in Mos Espa and
elsewhere.
Utarau
Anpei IV: A remote world
known for its beetles, a source
of the rare mineral dedlanite.
During the Galactic Civil War, a
crime lord named Jaum enslaved
the population, forcing them
to harvest dedlanite for the
Empire. His plans were foiled by
the Wookiee Chewbacca and hig
friend Zarro.
ARkaNts: Rain falls endlessly on
Joomy Arkanis, ranging from
drizzle to thunderstorms. The
Empire built an academy here,
run by Commandant Brendol
Hux, to train a generation of
elite officers. It was also the
site of Project Harvester, where
Force-sensitive children were
brought for mysterious purposes.
This world is not
maps. As part of
an elaborate plot by Darth
Sidious, it was erased from
the Jedi Archives and only
rediscovered when Obi-Wan
Kenobi was investigating the
attempted as
Naboo senator Padmé Amidala.
Kenobi traced the would-be
assination of the
assassin to the Wild Space
planet Kamino, an endless
inhabitants had
mastered the s
ocean who
ence of cloning.
Kaminoans had been
paid to create a clone army for
the Republic, using the DNA
of the bounty hunter Jango
Fett—the assassin Ker
following
Mustarar: La’
volcanoes that cover Mustafar's
spews from the
surface while swarms of droids
harvest rare minerals from
the molten rock. Despite
the searing heat of this harsh
world, it is inhabited by the
native Mustafarians, who labor
in the mines and factories and
live in underground caverns
hollowed out by rock-eating
lava fleas.
Many dark deeds have tak
on Mustafar. Darth Vader
betrayed and slew the Separatist
plac
Council here, ending the Clone
Wars. He was then defeated and
horribly maimed by Obi-Wan
Kenobi.
Bespin: A gas giant with no
land, just layers of dense gas
through which strange creatures
swim. Valuable tibanna gas is
collected from va:
called beldons and processed
creatures
in the floating habitats in
the upper, breathable layer
of atmosphere, including the
famous Cloud City.
Pouts Massa: Once a planet,
fassa was mysteriously
‘0 an asteroid field.
here studies the
and following Order
66, Yoda and Obi-Wan Kenobi
found safety at the research
station. It was here that Luke
Skywalker and Le
were born.
ia Organa
Grand Master Yoda
escribed Dagobah as
“one of the purest places in
the galaxy.” He first came here
toward the end of the Clone
Wars, drawn by a strange
message from his old friend
Qui-Gon Jinn, who had
died many years earlier, Jinn
had discovered the secret to
maintaining his identity after
death and set Yoda on the path
to discover it for himself.
Following his failure to defeat
Emperor Palpatine, Yoda exiled
himself to Dagobah to mediate
on the Force until a new hope
could arise. It was here that he
met Luke Skywalker.
Que: An obscur
tree-covered planet with no
intelligent life and far from
the main space lanes, D'Qar
is of litele interest. This made
ita perfect choice as a secret
base for the Rebel Alliance and
later the Resistance—making
it a target for the First Order's
Starkiller weapon.
Eniapu: A once-savage
wilderness of a world, until
colonists tamed it. Among the
ly pioneers were the Tarkin
who formed their
own militia to protect against
pirates and the local wildlife.
Wilhuff Tarkin grew up here
and learned many harsh lessons
in survival
Hort: The frozen world
Hoth was chosen as the new
headquarters of the Rebel
Alliance following the Battle of
Yavin, The base was discovered
by an Imperial probe droid, and
Darth Vader moved swiftly to
invade the planet. The rebels
ly narrowly escaped the Echo
destruction,
Ryor
more than its share of war.
Ryloth has seen
During the Clone Wars, it was
a battleground between the
Republic and the Separatists
as Mace Windu and his force
fought to liberate the planet.
Later, freedom fighter Cham
Syndulla opposed the Empire’s
cruel occupat
A plot by Syndulla and his Free
Ryloth group led to Emperor
Palpatine and Darth Vader
crash-landing on the planet
after the Star Destroyer they
were traveling in, the Perilous,
was sabotaged and destroyed.
However, the Lords of the
Sith were able to escape the
assassination attempt.
Sutwst: A barren world of
noes and lakes
people live in vast underground
cities. Half of all Sullustans
whose
work for the SoroSuub
technology corporation.
Sullustans are well known as
pilots. Nien Nunb famously
copiloted the Millennium
Falcon at the battle of Endor.
Urarau: Hyperwind storms
batter the surface of Utapau,
forcing many of the planet's
inhabitants—the Utai and
Pau’ans—to live in the giant
sinkholes that lead down into
the planet's crust. The Amani,
recent settlers on Utapau, are
hardy enough to dwell above
ground in the grasslands.
During the Clone Wars, Urapau
was an important base for the
Separatists, and it was here
down General Grievor
challenged him to a due
a fierce battle, the Jedi Master
managed to tear open the
cyborg’s armor and dest
using his own blaster.
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GALACTIC MAPS
Illustrated in full color, this stunning book of m
covers hing from Endor and Naboo to Tatooine
and Yavin 4, taking in the epic stori range creatures,
and planets of a galaxy far, far away. With dozens of
maps, star charts, character profiles, and a timeline of the
$24.99 US / $24.99 CAN
IN 978-136800306-3
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© & TM 2016 LUCASFILM LTD. aS
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PR ES S WEBSITE AT: WWW.STARWARS.COM.
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Star Wars - Galactic Maps
THE ULTIMATE
VISUAL GUIDE
FOR A GENERATION, Star Wars has
transported moviegoers of ail ages to
the very limits of their imaginations.
The six-movie saga has become a
cultura 1 phonomenon, spavvn ing a host
of spin-off novel!/ations, comic bixiks,
and video games, while enthralling
fans around the world.
Star tVj?rs: The Ultimate Visual Guide
uncovers the full story of the amazing
Star tV/irs saga. This extensively
researched book reveals the complete,
millennia-spifhning history of George
Lucas's long ago, far-away galaxy;
from the origins of the noble fedi
and the evil Sith to the rise of Luke
Sky walker's New Jedi Order It also
explores the making of the Star Were
movies, and the ever-expanding range
of Star Wtfrs merchandise. Packed full
of fascinating features, astonishing
artworks, and full-color photographs,
5far Wars: The Ultimate Visual Guide is
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$24,99 USA
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LONDON, NEW YORK. MUNICH,
MELBOURNE and DELHI
DORLING KINDERSLEY
SENIOR EDITOR Neil Kelly
DESIGNER Jill Bunyan
INDEXER Julia March
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PRODUCTION Rochelle Tala ry
LUCASFILM
ART EDITOR Iain R. Morris SENIOR EDITOR Jonathan W. Rinzler
CONTINUITY SUPERVISOR Leland Chec
Pirst American Edition, 2005
05 06 07 08 09 10 9 8 7 6 5 4 321
Published in the United States by DK Publishing, Inc,
375 Hudson Street, New York, New York 10014
Copyright © 2005 Lucas film Ltd. and ™,
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All rights reserved under International and Pan-American Copyright Conventions*
No part of this publication may be reproduced, stored in a retrieval system, or
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Published in Great Britain by Dorling Kindersley Limited.
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THE ULTIMATE
VISUAL GUIDE
CONTENTS
Foreword
6
THE CIVIL WAR
Introduction
8
Leia's Mission
74
A GALAXY FAR, FAR AWAY....
Luke's Destiny
76
A Jedi in Exile
78
Galactic History
12
Passage to Aide man
80
The Galaxy
14
"Now, l am the Master"
82
Special Technology
16
Battle of Yavin
84
The Jedi Order
18
Encounter on Mimban
86
The Si t h
20
Battle of Hoth
88
A jedi in Training
90
THE OLD REPUBLIC
"No Disintegrations
ti
92
Betrayal in the Clouds
94
Great Sith War
24
Shadows ol the Empire
96
Ascension of the Dark Lords 26
Prisoners Sfjabba the Hutt
98
Keepers of the Peace
25
"There is Another"
100
A Democratic Republic
30
Battle of Endor
102
Master and Apprentice
32
Blockade of Naboo
34
A NEW ERA
The Chosen One?
36
Battle of Naboo
38
The New Republic
106
The (decaying Republic
40
Empire Reborn
108
Rise of the Separatists
42
The New jedi Order
110
The Clone Army-
44
Tragedy on Tatooine
46
BEHIND THE SCENES
Battle of Geonosis
48
George Lucas
114
THECLONI WARS
The.Star Wars Saga
116 V
Designing the Galaxy
118
Battles and Campaigns
52
Visual Effects
120
Kidnapped!
54
Model- making
122
Power of the Dark Side
56
Movie Posters
124
The Jedi Purge
58
Dark J ord Reborn
60
EXPANDING THE UNIVERSE
THE DARK TIMES
Merchandise
128
Continuing the Saga
130
Empire of Evil
64
Star Wars Publishing
132
Imperial Might
66
Video Games
134
Rogues and Villains
68
The Death Star
70
Star Wars Timeline
136
Index
140
Acknow led grnon ts
144
FOREWORD
TTS 10 A.M, Lights dim. Time far the morning show. Another episode of everybody's
1 favorite all-action adventure serial. It could be the King's Theatre, Dundee, Scotland,
any Saturday over 50 years ago. I would have endured a Pathe newsreel, managed a cheer
as Jerry outwitted Tom, and would now be eagerly anticipating the next hair and hackle-
raising instalment of improbable Good versus impossible Evil.
However, it's not post-war Dundee. It's 21X15, and l am north of San Francisco at Sky walker
Ranch. But today I am just a kid again, waiting for the scroll to roll at a private screening of
Episode Ill: Revenge of the Sith, the final filmed episode of the six-part Star Wars saga, where
for once. Evil will vanquish Good, and it w ill be all my fault,
1 first encountered Emperor Palpatine at Elstree Studios in the early 1980s, He was staring
back at me from a make-up mirror, larger than life and 50 times as ugly. Yellow contact
lenses stung my eyes and afforded little peripheral vision. As 1 walked onto a vast sound
stage that had been transformed into a starship hangar, populated by seemingly endless
platoons of gleaming w'hite storm troopers, the scale of George Lucas's vision hit me.
This was space spectacle, a back-drop for a galactic opera of Wagnerian dimension.
Time passed. The prequels unfolded and, as Palpatine shed years and disappeared behind
a politician's mask — which happily turned out to be my face — the digital moviemaking
revolution gathered pace, as backdrops ceded control to blue cloths.
And now, as l watch the denouement of the saga that has been a part of my life for over two
decades, l am caught up once more in this epic story, As harsh beams glint off the freshly
minted armour of Pa l pa tine's tragic apprentice, a smug smile of contentment flickers over
the reptilian features of his evil master, the self-proclaimed Emperor of the galaxy But there
is hope. Twin babes blink as the sun sets on the Old Republic, with the promise that for a
future generation, the dark will yield once more to light.
As the auditorium lights return me to a sort of reality, I sit, not wanting to move, savoring
the heady mixture of sadness and elation and thinking, "Well, they just don't make them
like that anymore..."
INTRODUCTION
I N DECEMBER 1976, my brother Corey brought home a book that would have a
huge impact on my life, it was a copy of the Star Wars novelization, which had
been published in advance of the movie's release. Corey had bought i t because he
liked the amazing cover illustration by artist Ralph McQuarrie. He really enjoyed
the contents too, which got me interested because l hadn't heard him rave about any
book since he'd read jules Verne's classic fantasy 20,000 Leagues Under the Sea some
years earlier. I was also blown away by the powerful imagery of McQuarrie's cover
painting, with the ominous figure of Darth Vader looming out at the reader like an
approaching storm. A few months later. Marvel Comics 1 adaptation added to our
awareness of Star Wars, and made us anticipate the release of the movie even more.
Even though Corey and 1 thought we already knew the story inside-out, when we
finally saw Star Wars in the summer of 1977, the film itself just blew our minds,
along with everybody else's, Time and again we went back to watch the movie,
transported from our everyday lives to George Lucas's long-ago, far-away galaxy.
And that is the lasting power of Star Wars. It fuels the imagination, exceeds your
wildest expectations, and appeals to audiences of all ages.
Almost three decades after the theatrical release of the first Star Wars movie-^now
officially titled Episode IV: A New Hope —an ever-growing number of spin-off
novels, comics, and video games have developed the Star Wars universe far beyond
the events of the two movie trilogies. The key scenarios, characters, and locations
from both the six-movie saga and the "Expanded Universe" are brought together
in Star Wars: The Ultimate Visual Guide to provide a detailed, fully illustrated guide
to the history of the Star Wars galaxy. As well as looking at the fictional aspects
of Star lAtors, this book includes detailed information about the evolution and
production of the movies, from the first Star Wr?rs movie to the theatrical
release of the final film, Revenge of the Sith . There's also a look at Star Wars
merchandise, video games, novelizations, a movie timeline, and much more.
I hope this book will serve not only as a reference for readers, but will also
inspire, excite, and entertain them, just as George Lucas's space fantasy has
done—and continues to do — for generations of moviegoers.
Ryder Windham, June 2005
A GALAXY FAR, FAR AWAY....
T HERE WAS A time when the galaxy's sentient species could only dream of traveling to other
worlds. When technology enabled the dream to become a reality, journeys rarely strayed beyond
a single solar system, as the time required for interstellar journeys exceeded most lifespans. But with
the discovery of hyperspace—the dimensional corridor that enables faster-than-light travel—time
was no longer an issue. Hyperspace trade routes were established, new technologies emerged, and a
Galactic Republic came into being, policed by the noble Jedi Knights. The Republic's center of power
was the city planet Coruscant, its soaring spires dwarfed by the huge, five-pillared structure of the
jedi Temple. Eventually the Republic was transformed into an Empire, which was in turn superceded
by a New Republic, where the jedi continue to be the guardians of freedom and justice in the galaxy.
-II
f Naboo (pp. 38-39), battle droids are
directed to comba t Nil boo's Gungan warriors.
Nine-year-old Ana kin Sky walker, a former slave
from Tatooine, manages to destroy the Trade
Federation's droid control ship, disabling all of the
droid ground troops and bringing a swift end to the
battle. On Coruscant, Naboo's Senator Palpatine is
elected Supreme Chancellor of the Galactic Senate.
^22 B.B.Y, Rise or the
SEPARATIST MOVEMENT
22 B.B.Y. BATTLE OF GEGNQS1S
Without an official military, the Republic is
increasingly vulnerable to attacks from the
massive droid armies controlled by Separatist
forces (pp. 48-49). After the Jedi discover a
droid-manufacturing facility on Geonosis,
Supreme Chancellor Pa I pa tine—having gained
emergency' powers that allow him to bypass
standard diplomatic procedures—utilizes a
secretly developed army of clone* to help the
Jedi destroy the facility. The Clone Wars begin,
GALACTIC HISTORY
2 A.B,Y. Rebels sejild base on hoth
2D
A
THE
BATTLE OF
YAV1N
T HE HISTORY OF the galaxy is intertwined with the story of the Jedi and their
struggle against the forces of evil. The most crucial period in the history of the Jedi
Order was between 32 B.B.Y. (Before the Battle of Yavin) and 4 A.B.Y. (After the Battle
of Yavin), when the rise of the Sith and the creation of the Galactic Empire threatened to
extinguish the Jedi for all time. In 30 A.ELY, with the decline of the Empire ahd the rise
of the New Republic, the Jedi continue to face many dangerous adversaries.
25,000 B.B.Y,
FORMATION OF
the Galactic
Republic ano
CREATION QF THE
JEDI ORDER
1QOD B.B.Y,
BATTLE DF RUUSAN
B.B.Y, Birth Of Ydqa
&po e.e.Y
JAdtiA THE HUTT BORN
490 B.B.Y, _ | i
Corporate _ jfflSro
Sector • 3EP
2000 B.B.Y. Rise 4990 B.B.Y.
OF THE NEW SlTH FALL OF THE
I Sith Empire
SOOG B.B.Y. OREAT
I Hyperspace War
3 50 B.B.Y. trade
FEDERATION ESTABLISHED
200 B.B.Y, CHEW6ACCA BORN
1_3996 B.B.Y.
Great Sith War
. 3995 B.B.Y.
Manoalorian Wars
395 1 B.B.Y*
sith Civil war
44 B.B.Y, Stark Hyperspace War
J9 B.B.Y, BiRTH OF_
THE SKYWALKER TWINS
O A.0.Y.
Alliance flees
12
3 a.b.y. Battle of Hoth
4 A.B.Y. Death of the EhHROR
Death of anakin skvwalkch.
Foundation or the New republic
i i A.B*Y, Jedi academy
ESTABLiSHLO ON YAVIN 4
B A.B.Y, MARRIAGE OF
leia Organa and Han Bold
9 A.B.Y. Grand
Admiral Thrawn crisis
25 A.B.Y, YUUZHAN VONG INVADE
the Galaxy. Death or chewracca
29 A.B.Y. End of THE Yuuzhan Vgng War
D A.B.Y BATTLE OF YAVIN
Using stolen technical readouts fur the Death Star, the Rebel
Alliance discovers a design flaw that might enable them to destroy Ihe Empire's
moon-sized battle station. As the Death Star nears the Rebel's secret base in the
Yavin system, it is intercepted by Luke Sky walker and his fellow Rebel pilots
(pp, 8+-B5). Strong with the Force, Luke fires the shot that destroys the Death
Star, and leaves but a single Imperial survivor—Darth Vader, Although the Battle
of Yavin does not bring an immediate end to the Empire's oppressive reign, it is
widely regarded as one of the most pivotal moments in galactic history.
M B.B.Y. CREATION OF THE EMPIRE
Anakin Skywalker discovers that Supreme Chancellor
PaJpatinc is the Sith Lord Darth Sidious (pp. 60-81), who
manipulates events to gain power. Anakin'sown craving for
control prompts him to become Sidious's apprentice. Taking
the name Darlh Vader, he helps his new Master kill nearly all
the Jedi as well as the Separatist leaders. Pa I pa line declares
himself Em pe ro r of the galaxy, and assigns Vader to oversee
the construction of a secret superweapon — the Death Star.
3 A.B.Y. YODA TRAINS LUKE
Hoping to become a great warrior like his
Jedi father, Luke Skywalker—unaware of
the true details of his heritage—travels
to the planet Dagobah to train with Jedi
Master Yoda (pp. 90-91), From the elder
Jedi, Luke learns that "wars not make
one great/' and that a Jedi's purpose is
to help others, not to seek adventure.
When Luke has visions that reveal his
friends are in danger he chooses to end
his training early. Traveling to Cloud
City in the Bespin system on a desperate
rescue mission, Skywalker has a fateful
duel with the Emperor's fearsome Sith
apprentice, Darth Vader,
4 A.B.Y. BATTLE OF ENDOR
In a daring scheme to destroy the Rebellion
once and for all, Palpatine deliberately leaks
Information to allow the Rebels to "discover"
that a new Death Star Is under construction
in orbit around Endor's foresl moon. As the
Emperor anticipated, the Rebels devise a plan
to deslroy the battle station before it can be
activated, but their attack is nearly foiled when
the Death Star's superlaser is revealed lo be
fully operational (pp. 102-103). Despite his
manipulations, the Fmperor is unprepared for
both Ihe Rebels' resolve and Luke Skywalker r s
unwavering belief that Anakin Skywalker was
not entirely consumed by evil.
■MS
13
A Galaxy Far, Far Away.
THE GALAXY
CORE WORLDS
The most prestigious and densely
Populated planets in the galaxy are in the
tore Worlds, the ancient regmn bordering
the Deep Core long governed by the
Republic. The oldest records refer in the
dty planet of Coruscant as the heart of
(tv civilized galaxy and historians have
king referred to it as "the jewel of the
Core Worlds/' Marty humans believe that
their species originated on Coruscar\t H hut
there is no existing archeological evidence
to supporl this, and if there ever were, it
was likely destroyed Lo accommodate the
construction of a skyscraper megablock .
B ILLIONS OF STARS form a brilliant, pinwhud galaxy that is more than
100,000 light-years in diameter. Early hyperspace cartographers divided the
galaxy into three classifications: regions, sectors, and systems. Regions range
in size from small pockets of space to vast expanses, and are subdivided into
sectors, which were originally defined as any area of space with 50 inhabited
planets. Systems consist of individual stars and their orbiting planets, only
a fraction of which can sustain life. There are well over a million inhabited
worlds, ranging from desert planets to jungle moons, ice worlds, volcanic
environments, and city planets. The invention of the hyperdrive
approximately 25,000 years ago established contact
between the thousands of previously
iso la ted i n te 11 igen t a 1 ien
species, which in turn
I ed to t he c rea ti on
of the Galactic . . . . ^r™
Republic. J * K3 ‘ ' •* ■enxnsam
EXPANSION REGION
Mining anti induUrudizntnm in the Expamhnt
Region ifyfii left maity plane it i if pitted of
natural mottrrti. The exp tinted pinna of
>yk m the hitmen arid of the
fie ri e hut loyal HinitW i- Mail \ lagoany hauler
vaslfamfi of towering, kitamelerx-Mgh wrushyr
tree*, in H’ftnA the >Vf*.iJUrr i krr htilft hugr
tn elap i ifjrt lint I are tmlumfh wtpftorieit h\ tlrr
strong, thu k leer brum hr*
WILD SPACE
lhe ragged fringe that separates
galactic civilization from the
Unknown Regions, Wild Space
is the true frontier of the galaxy
After the Baltic of Endor, Grand
Admiral Threwn declared this
largely unexplored region as part
of the Empire, but much of Wild
Space still remains unLamed. In the
Unknown Regions that lie beyond
Wild Space, exploration efforts
have never met with more than
marginal success.
With inmh of Us ftallulrd xurfwe f robots, starships, or anti-gravity devices,
millions of sentient species across the galaxy have used such technology
for thousands of years. And ever since interstellar travel led to galactic
trade, seemingly disparate alien sciences have been routinely co-opted
and adapted tor new and diverse purposes. Although the origins of many
specific devices have been lost in time, historical records indicate that
energy weapons developed independently on multiple worlds during
the same era, and some scholars believe that the first such weapons were
developed on Coruscant. Nearly all historians agree that the two greatest
technological breakthroughs were the blaster and the discovery of
hyperspace travel, while the I lolonet — a network capable of broadcasting
holographic messages across the galaxy — has revolutionized high-speed
communications. The development of artificial intelligence has also
played a major role in shaping the galaxy, with a vast range of tasks
being carried out by droids, from domestic duties
to as t ronavi ga ti on, s u rgery, t rans la ti on „ ha rd wa re
maintenance, and warfare.
LIGHTS a BERS
Universally recognized a* the weapon of Jedi knighLs,
An activated lightsaber is a beam of pure energy that can
deflect energy bolts and cut through almost any object,
k'd i Master Mace Windu (above) is regarded as one of
the greatest lightsaber-wteldefs of the Old Republic.
ENERGY SHIELDS
An energy shield—also called a
deflector shield—is a protective
force field. Then? are lwo basic
types of energy shields: ray
shields which absorb radiation
and blaster bolts, and particle
shields, which repulse solid
objects. Although energy shields
can be used to defend planetary
bases; they are more commonl y
associated with protecting
starships against stellar radiation,
mierometeorites, and enemy fire.
Unlike fiihrr xtarfi^hlerji, Republir-rfO
Jedi IfUrrvfptmt mnrr mn fined wnh
thield gtnemiorj. hotrod, ihetr pilots
med ihr fimr Ur avoid In.irtfrr.
Hyperspace Travel
If a pilot attempted to travel at the speed of light from one end
of the galaxy to the other, the journey would hike about 100,000
year*. Travel time is reduced considerably by a jump into
hyperspace, the dimension of space*time that takes advantage
of the wrinkles in, the fabric of realspace. The Mittenniuni Falam
(above) has a powerful Class 0.5 hyperdrive, which enables it to
travel through hyperspace much faster than an Imperial starship.
Many starships have built-in hvperdrive engines and
astTOnavigation computers, bul ships equipped only with sublighl
engines require additional booster systems and astromech droids
programmed with hyperspace jump coordinates.
GUNGAN DEFENSES
On Naboo, the Gungan army used
powerful planetary ray shields to repel
laser fire from the Trade Federation's
baltie droids. Fambaa swamp
creatures (below) carried the shield
generators into ba ttle. Strapped to the
Fambaa s' backs, they projected beams that formed a protective energy field.
Unfortunately, the shields were m>! impervious to slow-moving objects, and
the droids were able to step through I he shields and engage the Gungans.
16
Special Technology
vm |H|
on unrshtps “
ihmugkfHil the piitin%"
domed-head fJ i Unmet h tin Ads
help n'ith iiHitiiu- nyinrcjiMi^r
emergent v repairy and
DROIDS
Robot it systems wilh varying degrees
of artificial mlelLigente, droids are
used hy almost every technologically
advanced civilization. Suin' droids have
speech synthesizers and are humanoid
in appearance, but most communicate
via programming languages and are
designed purely for their function
Despite I heir hard work an*.! loyally
to their masters, droids are essentially
regarded as appliance* without any
personal rights, and an 1 not allowed m
many public areas.
Pmfoatf dnudi, stub m K-SPO Heft) md
C \PO t right t. arr munttv in urrirr to high level
fhphmum »ho frifitif* an aide and interpreter,
R t l*U LSOR LI ET VE H 1C L ES
A nligrav national propulsion uni Is, or repulsors, are used in land
and atmospheric vehicles such a* landsptvders. airspeeder*,
speeder bikes, <uid gwpops, Kcpulsors — styipetiitus called.
repuisoridl engines produce a field th at push es against a planet
gravity and PlUVl dest hrusL j| Ion mg I lie vessel to hover a* it
vels above hlirGoe level
r.'i.,';,
"Uifih
m. ! i.
• lcq> rejectors are equipped with audio recorders,
i he 1 loloNet communications network allows for
x.u-instantaneous holographic transmissions.
The mosl commonly used weapon throughout the
galaxy, blaster* Tire intense beams nf light energy
that can stun or kill Ranging from compact pistols to
heavy assault rifles, they assume their largest form a*
sta rsh ip-mou n ted blaster ca nnans
A Galaxy Far, Far Away....
Thi Ju>i Order
THE JEDI ORDER
IMMENSE LEARNING
' used within the Jedi Temple mi
ruscant, the Jedi Archives frighl)
trained the greatest library in the
-il.it in Republic I hr library was
vpository of knowledge gathered
v-r many millennia, and provided
v Utii with extensive information
>ut every explored world and star
system m lilt* galaxy
F OUNDED AS a philosophical study group, the
jedi Order htis its origins in the earliest days of the
Republic, many millennia in the distant past. The ancient
Jodi spent centuries contemplating the mysterious
energy field known as the Force. They became masters at
manipulating thi^ energy, and chose to use their skills tor
good and to help those in need. For 25,000 years, the Jedi
served as peacemakers of the Galactic Republic, and their
interplanetary exploits were legendary. Because emotional
attachments could distract Jedi from their missions, and
selfishness and desire could lead to the dark side of the
Force, many traditions evolved to help maintain the stability
of the Order, Marriage was actively discouraged with very
few exceptions, and Jedi initiates were rarely older than six
months when they began their training. In the New Republic
era, the New Jedi Order have abandoned some of these
traditions, but the Jedi's commitment to promoting peace
and justice in the galaxy remains unchanged.
FINDING POTENTIAL JEDI
In the Republic cw. it was considered
U» be dangerous lor potential Jedi hi
begin training during adolescence
. 1 * their established character trails
could lead them in I he daii side nl
the* Force Recruiters narrowed their
search to newborns and infants
with high midi-diJorian counts.
Many families consider'd it an honor
lo have a child adopted, but some
refused to give up their children, and
regarded I he Jedi as baby snatchers
OBJECT MOVEMENT
In his duel with C ount Donku on
l.ennosis, Ynda (left) usiM the hone lo
hall the fall of heavy stones. Although
such ability is commonly known as
.1 JedTs "object movement" power,
it is more accurately described as
a manLpul.ilion of the Force—the
energy field that surrounds and binds
everything to control the di recti on of
objects ill rough space, ledi utilize this
talent not only lo push, pull, and lilt
objects, but also to red i red projectiles a
guide their starships through combat
4lJkJrt/i Irmpfc, Jrdt Iftummi hi'wm
{fttrtri t; infurii i hrftifr flfci* i/uUtilf W
r i/j rr$i*tit fd frm tmt tmgrf
THE WILL OF THE FORCE
M ic rose i >p icli fe forms called
midi-chJnnan.x reside within alt
living cells They communicate
with Iht* Force, revealing its
will, and a high rmdi-chlonan
count indicates great Jedi
potential. Anal y/mg Anakin
bkywalker's blood, Obi-Wan
Ken obi discovered a count even
higher than Master Yoda's.
Lightsaber Training
Jedi learned how to wield Ii^htsabers in childhood in the Old
Republic, and coti tinned to practice with the weapons throughout
their lives. To prevent accidents, thi*v began with small training
lightsabers, which were equipped with low-power "safety blade"
generators. After mastering the fundamental skills of handling
their weapons, Jedi novices trained w earing vision-obscuring
helmets (below). Reaching out with their feelings, the younglings
used the Force to see the training remotes, which fired harmless
energy bolts that the Jedi deflected with their lights*ibvrs
THE GREAT HOLOCRON
ledi Holocrons contain the teachings of
Croat ledi Knights and Masters. They holt!
secrets nut found m data tiles, and
can be accessed only by Jed i.
The largest and most powerful
Holocron is the dodecahedral
Great Holocron (above). w
JEDI MIND TRICKS
The Force can he used to manipulate weak- minded
beings into believing whatever a ledi wants them to
believe. Luke Sky walker (far right) employ id this
In lent to infiltrate Jabba's Fa lace, and convinced
, Bib l urtuoa (near right) to lead him 1 m the 1 lull
B|i runelord. Aliens with highly organized mental
ft ft futilities, such as Hull-.md bn lI.io.hi-., m-
naturally immune to ledi mind tricks
jedi spirits
The Siih Lord Darlh IHagueis discovered it was
possible lo merge with the f orce and still retain
individual consciousness, but was mil interested m
the nonnialenal world
Jedi Master Qui-t pon
i i -11 i. -1 " i ! ■ I !. ' j. ■ i ^^ft||
jjB
THE DARK WOMAN
Toemphasi/e thal a ledi should have no
possessions, the Jedi known as the Dai k Woman
surrendered her original name—An'ya kuro—
m service to the Force Over many decades,
she sped a Iked in I raining students who were
deemed ‘ difficult" by other Jedi. Although
her achievements includes! the discovery
and recruitment of the fmir-vear-old Ki-Adi*
Muiidi lo the |edi Order, her non-traditional
instruction techniques made her unpopular
with the Jedi Council
hi* nutm.
in^i: j
igg
THE SITH
THOUGHT BOMB
By employing a Si Eh skill, adepts can extract
the Force and bind it into a shape primed for an
explosion that will destroy every thing in its path.
Because of the suicidal aspect of this "thought
bomb/' most Sith are reluctant to use it. A1 the
Battle of Kuusan, Lord Kaan and his Brotherhood
of Darkness tried to create a bomb that would kill
only Jedi, but the life-energy of Jedi and Sith alike
were drained into the form of a dark ovoid.
I N THE EARLY years of the Old
Republic, certain jedi turned to the
dark side of the Force. These "Dark Jedi"
were defeated by their former allies, and
fled to the far reaches of the galaxy,
where they conquered a powerful
but malleable species named the
Sith. Treated as gods by their
new subjects, the Jedi exiles
proclaimed themselves the Lords
of the Sith. The Sith Lords built ^
a vast empire, conquering many
worlds and races. Five thousand
years before the Battle of Yavin, a power struggle between
rival Sith Lords Naga Sadow and Ludo Kressh for control J
of the Sith Empire brought the Sith—and their dark-side
knowledge — back into Republic space, **
A firm btiirwr in the tradition* of the
Sith Empire. Lain Krrtsh (abaw) tried
to Mop $adw from itizirtR power.
On NutfHm. Sith Lo rtf (Jnhan\ was destntyed by Kaon s bomb
Naga Sadow
Unlike Ludo Kressh, Naga Sadow (right) was not satisfied with
dominating the Massassi, an evolved form of the original Sith
xies. He believed the Sith Lords were destined to rule the galaxy,
When he saw an opportunity to return to Republic space, Sadow
attempted lo conquer several Republic worlds.
Ultimately, he failed, and was forced to land
a on the jungle moon called Yavin 4, where
f ^ a his Massassi crew and their descendants
built towering temples.
SITH POWERS
Although the Jedi and Sith
have similar Force powers,
only Sith Lords have ever
demonstrated the ability to cast lethal energy
charges. Called "Sith lightning," these charges
cause excruciating pain and weaken life,and it
is a challenge for even the most powerful Jedi
Masters to deflect such bursts, Sith Lords also
employ the Force to strangle and choke their
opponents from a distance.
ZIOST
Once the central world of the Sith
Empire, Ziost is a terminally cold, dark
planet. An immense fortress, it served as
a meeting place for the Sith Lords, who
became divided after Ludo Kressh
!k refused to accept Naga Sadow as the
Sith Empire's ruler. Sadow's attempts
h to Invade the Republic led to the first
|L conflicts between Sith Lords and
■V Iedi■ Over the next few millennia,
H many fallen Jedi studied the Sith
dk Lords' dark-side teachings.
in a rrnutrkaMe dr man stratum of his formidable
tftirk-sidr abilities. the Jrdi-Uinitd-Sith Lord
(ffiifl/ thktku (below I duetts his ptrwen toward
the Jedi Quinbm Wu (far left) tjrviiaiinjt his
ativer.saiy ami rhtdtmtt him ina telekinetic
stranxiehtdd. Dooku nmuitanenmiy trlitvet
Wajr of hi) tighlsaber.
Ibtoku unleashes
his lei hoi Sub
tifthlrunit rejoin the Stlh
Lard iimrv on the fdnnet Kuuwn
[)UII IN INI -.SENATE
After Ulic Qei- Drama is captured by the ledi in the
early days of the Great Sith War, Exar Kun travels to
GbnUff^fe-tO Stop his evts uhon In tlu- S'lVitr
U4fl,Kun fights Ins former Master. V«hIo
Sklsk Un-lding double
l\ bknk'J --.ii i- ■ I • '
,w„ it’, ii ,ms
THE BATTLE OF RUUSAN
Thtt« thousand years after Fxnr Kun's defeat, Lord I loth leads Ihe
Jedi Knights against the Silh lord k a art's army, Ihe Brotherhood
of Darkness, on Ruusan. To defeat the Jedi, Kaan and his followers
Commit suicide, using a Force-weapon known as a "Ihought bomb,
which consumes all Force-sensitive beings within its blast radius.
25
The Old Republic
ASCENSION OF THE DARK LORDS
F OUR THOUSAND STANDARD years before the rise of the Galactic
Empire, Darth Malak, the last surviving Sith apprentice of the Dark Lord
Revan, unleashes an invincible Sith armada upon the galaxy. Countless
Jedi Knights fall in battle, and many more of them swear allegiance to their
new Sith Master. The brutal war all but destroys the Jedi Order, leaving the
Republic on the verge of collapse. Five years into the conflict, the Sith believe
they have eliminated or converted nearly all of the Jedi. The Sith Lord Darth
Nihilus, determined to exterminate ail threats to Sith supremacy, assigns his
minions to wipe out the last of the Jedi.
ARMORED COMBAT
A Jedi Knight wearing Ba rag win Shadow
Armor Joins Basil la Shan in combating a
fully armored Sith trooper. Shan is believed
to have been instrumental in splitting up
Darth Malak and Darth Revan, enabling the
Jedi lo lake Revan captive.
Shades of History
Records are inconsistent concerning the
tumultuous events of this devastating conflict.
According to one record, the Sith Lord Darth
Nihilus is aboard his flagship, the Rawtger,
when he is defeated by the handmaiden
known as Brianna. Another record
indicates that the Jedi Visas Marr
is involved in killing Nihilus,
while still other records
show that Marr is in
fact slain by the
Sith Lord.
Darth Mhllwv the tjmi
/Imjtrr. ii ft tunlvor
nf the Mundaiormn
itora. ttti appetite fur
power ctminmen
ItMidmniiltiL wHtffl
given name h Urmnm.
it an allendaiU tt> Jedt
Afa Ur r Airis. She has
t uqtiiumii ambit
ikith anti abtUtku.
narth Shift the bml
of f\un, is the Sit St
apprentice tu Darth
Nihiftti. iiil, htnJvparts
ft rr held together by
liter r will and hatred
VI sm Marr n a Jah,
A Sfirtifuku. ibe ts
effectively Mind. but her
Fon t power* emhte her
to tee nearby entities,
n ett through H ui/i.
Han-lhir j 1u Zahmi
terh speeiafirt wtuae
hinwH ortii tvnj bombed
irtIf by Darth Muiak,
Hrotdi the Job and fiat
potential Fbrtwptnven.
Alton "Jpii" Hand
imteutt riiie pitot who
bunted Jedi on behalf tif
the Sith. A ietwan of the
Mandatorim Wiir*, be is
fbrce-semltivt.
THE MOON OF DXUN
The planet Onderon's largest
moon, Dxun is where the
Mandalorian Wars began
in 3/995 B.B.Y., in which the
Mandalorians were defeated with
heavy losses. A new Mandalorian
leader gathers his remaining
warriors on Dxun lo help a Jedi
attack Darth Nihilus F s ship (left).
BOUNTY HUNTER VS SITH
A bounty hunter and scout based on the world of
Nar Shaddaa, Mira (above left) learns to harness
the Force. Equipped with a wrist launcher that can
fire rockets, darts, and grenades, she fights a Sith
Assassin (above right) at the Sith Academy on
the planet Korribnn.
TELOS
Heavily bombed during
the war by a merciless
Sith fleet, the planet
Telos undergoes a j^M
massive restoration jHF' jflp
effort in an attempt
to return the world f gf
to its prior state. 1
The enormous V
undertaking is \
coordinated by
Ithorians, who have long
been recognised as experts
in the highly skilled work of
planetary restoration. Jedi Master Atris runs a
secret academy for the training of Jedi under
Telos's northern polar icecap.
Thi Old Republic
COUNT DOOKU
A legendary light-saber
instructor, Count Dooku
believes that ihe Republic
has grown corrupt, and
suspects the Jedi Council
b more concerned with
politics than justice.
KEEPERS OF THE PEACE
N EARLY A MILLENNIA after the Battle of Ruusan, the Republic has developed into a vast,
sprawling union of far-flung worlds. Many Jedi Knights rove through assigned regions
of the galaxy as diplomat-warriors, empowered to support justice in the Republic as they
see fit. Although Jedi do not use their powers to intimidate, their abilities can inspire fear as
well as respect, and the mere presence of a Jedi negotiator is often enough to make opposing
factions work hard to resolve their differences. Despite the historic reputation of the jedi as
peacekeepers, some beings-—including the Jedi Master Count Dooku—wonder if the Order has
evolved into nothing more than a
glorified security service to protect
the interests of the Galactic Senate.
THE STARK KYPERSPACE WAR
Twelve years before the Battle of Naboo, the Stark
Commercial Combine—an Outer Rim coalition
of pirates and smugglers—openly defies the
Neimoidian-mn Trade Federation, and threatens
to comer the market on bacta production.
The Jedi are tailed upon to mediate negotiations
between the Combine and the Federation, and
Qui-Gon Jinn (center left) ends up saving the life
of the Neimoidian leader, Nute Gunray (far left).
Clash with Mandalorians
In 44 B.B.Y., Jedi Master Dooku
is assigned to lead a team of jed i
Knights (below left) against the
Mandalorians (top left) on the
planet Gaiidraan. The devastating
confrontation Leaves many dead on
both sides, including all but one
Mandalorian warrior and more
than half of the Jedi. Dooku
never forgets the sole-survivor,
a man named Jango Fett,
whose fighting skills are so
impressive that he is capable
of subduing several Jedi
armed only with his
bare hands.
MASTER
SWORDSMAN
Although Jedi
are trained to resolve
conflicts through peaceful
negotiation and diplomacy,
they are prepared to take
phy sical action if necessary.
Mace Wind ii is not only a
senior member of the Jedi
Council but one of the best
tight saber fighters in the Jedi
Oder Of the seven forms of
Ligh (saber combat, Mace is a
Master of Form VJ1, an intense
regimen that cuts dangerously
dose to the abilities of
Silli-trained duelists.
FALLEN JEDI
After receiving a distress signal from the Jedi Mana Veridi, the Jedi Master
Qui-Gon Jinn and hLs Fadawan apprentice. Obi-Wan Kenobt, travel to the
planet Kwannot There, they are at lacked by the Dark Woman's renegade
pupil, Aurra Sing (below right), an assassin who delights in killing Jedi.
Qui-Gon and Obi‘Wan are too late to rescue Mana Veridi, and Aurra Sing
vanishes, having added the fallen fedl's weapon to her collection.
28
44-32 b.fkY.
QUINLAN VOS & AAYLA SEGURA
Ihe search for a beast-trafficking felon
brings jedi Master I holme and his
apprentice, Quinlan Vos, to the
Twi'lok home world Ryloth.
At the home of clan leader
Lon Secura, Quinlan
receives a psychic plea
for help from a Force-
sensitive Twi'lek infant.
Investigating the distress call, Vos
(far right) finds Lon Secure's niece,
Aayla (near right) about to be attacked
by a murderous wampa (below right).
Quinlan saves Aayla, and Thnlme
succeeds in identifying the felon.
Aayla returns with Vos and his Master to
the Jedi Temple on Coruscant, where she
trains to become to a Jedi Knight.
punnjf ihtr Start ffaperspate HShr QumUm lb
ffUitht altngiide his tnuhrr. Jedi Master Thotnu.
LAST STAND ON
ORD MANTELL
I moonitTing two brutal
Man tel I tan tttvrips on a
freighter with a slaughtered i
Qui-Gon (above left) and Obi-Wan9
(above right) travel lo Ord VLmteltl
to find out why Ihe freighter was f
carry s ng I he creatu res, A i nu rder 1
investigation ensues, anti Obi-Wan
discovers that there are far more
killers al large than the reptilian savrip
The Old Republic
44-32 b.b.v.
A DEMOCRATIC REPUBLIC
JEDI HIGH COUNCIL
Having, proved themselves
and their abilities in the
service of peace and justice,
the 12 members of the jedi
High Council contemplate
the Force to serve the
Republic. Most of its
members are Jedi Masters,
ami some of them possess
Force powers enhanced by
unique genetic traits.
Atimg with tfrcta. Mac*
Windti £i a j rnior
member of the Council
?V Qnetttttin\ Ywd
hmif it a muifrf of
Jedi mind tricks.
A J Ket Oor, plo Knnn tan
etmtfid the imdnmmtm
to create fox or ice ,
Hattie ■ m nrred Even Pfell
embraces hit hentage
as a tcmnik mi amor.
The naturally telepathic
Harti h i Stowe I tin is a
uma starpiht,
O F THE MILLIONS of inhabited worlds in the galaxy, thousands
are members of the Galactic Republic. The Republic's worlds are
rep resen ted by Senators who serve their terms in the Galactic
Senate on the capital world. Corn scant. The elected leader of
the Republic is the Supreme Chancellor, who by law can serve
no more than two four-year terms. Operating out of the Judicial
Department under the office of the Supreme Chancellor, the Jedi
High Council has overall decision-making powers regarding the Jedi
and their role in Republic affairs* Although the Galactic Senate strives
to maintain order through diplomacy and negotiation, and relies on the
Jedi Order to enforce justice when ali else fails, some Senators believe that
the Republic needs a wf'll-armed, official militia to defend Republic worlds
against the growing tMjat of interplanetary piracy.
edi Master Yoda,
JEDI TEMPLE
All Jedi activity in the galaxy is centered
at the Jedi Temple on Coruscanb Ife five
towers are tapped by powerful *mkniLis
to maintain contact with Jedi Krughtf on
tar-flung missions .Veitis* Hie galaxy.
A senior meaner of the Jet h Yoda's
lung career as .1 Jedi Nbgan approximately a
century after Darlh Bane sen I the Sith OndeT
into hiJtflftiHfciiasal wfyt; advocated that
Jedi n.i in mg should begin at infancy,
and scorns criticism that the Jedi
are 'babv snatchersAfter I raining
KHlifi-Mtjdi to Knighthood, Yoda
retired trom direct Mastef-Padawan
CCflttng and became a staff instructor
at the Jetia femple, teaching the ways of
the Force to young Jedi initiates.
JEDI COUNCIL CHAMBER
Located -itop the central spire ufihc Jedi Temple, thjj^undJ
Ch-vnfrer is the Jedi > must aacnid place ot contepap^Mbn. A ring,
of 12 equally-spaced chair are reserved for each Jcdflfr the High
Count: I The chalra, have bu ilt-in bnlopipjucitm, to - MW. k ast ini age 6
trartM nit ted by absent f mod members
I I :
r
30
-
Kttmtfph Tarim 1 right I perishes
during the Stark Hyperspace Mtw;
Mn surviving relatives include rftr
equally ambitious Wifhitjf Tarim.
MILITARIST SENATOR
One of the most vocal
proponents for a Republic
militia is Senator Ranulph
Tjrkin of the polluted factory
planet Eriadu. Power-mad,
Tarkin aspires to become the
Republic's leader. Without the
Senate's approval, he assembles
j prototype Republic navy and
army, then guides his flagship
In attack laco Stark's pirate
forces In the Treiken
system. Tarkin's actions
VALORUM AND PAL BAIT NO
Supreme Chancellor Finis Valorum (near
right) is the elected leader of the Senate,
One of his oldest political allies is Senator
Pal pa line (far right) of Naboo. To relieve
the Republic's fiscal debt and monitor
the corrupt Trade Federation, Pal pal ine
suggests that Valorum institute a lax on the
free trade zones in the Mid and Outer Rims.
THE GALACTIC SENATE
The Supreme Chancellor's la 11 podium is at the center of the Great Rotunda in the Galactic
Senate building. Lined with 1,024 Senate repulsorkft platforms, the Rotunda is where
delegates from the Republic’s member worlds meet to make decisions.
The Galactic Sr mile > mlrunce concourse
(i adorned by monumental \tatue\ fftol
depict the Mepublict Coir Wtrld founders.
The human Adi ( *iltia A Chalaclan, llrpu The Thisspiasian Oppo Not yet u Jedi Master, A formidable scholar, The Iridnmun fabrak
is welt-regarded far her I'UIImKr i f an authority Kunrink is a cunning Ki-AdiAtimdi it the only Vwfdlr trained RMh Kiilll trained
strong intuitive powers, on spiritual matters military strategist, Knight an the Council, Oppo Kancisis. Tusken Jedi Shared Iff ft,
31
The Old Republic
44-32 li.iLv.
r &o you i
KNOW WHAT
k I AMP A
F ollowing the example set by Darth
Bane after the Battle of Ruusan, the Sith Lord
Darth Sidious is served by a single apprentice, an
almost unstoppable weapon named Darth MauL
A Force-sensitive Zabrak from the planet Iridonia,
Maul might have been discovered by the Jed i
if Sidious had not claimed him first. Maul's
upbringing consisted of constant training
to become stronger, faster, and smarter
than any adversary could anticipate*
Zabraks are renowned for their mental
discipline, and have a natural ability
to withstand physical suffering, and
Sidious tested Maul's endurance to
the very limits during his training. Unlike previous Sith
apprentices. Maul has no ambition to overthrow his Master.
The Zabrak warrior's existence is known only to Sidious, i
who waits for the moment when the Sith can rise against
the Jedi and finally have their revenge
PnrWfwur AJi/i tftn/i htm Sith
tattoos (in thftr filer htmh. tmi
tkurth Mnui cinvjvri hht entire
btnh with the mtrkinfs..
of Maul's lighlsaher
Sith Training
PoIJowing his Master's instructions, Darth Maul trains for the day
he will be unleashed upon the Jedi- On Coruscant, Maul masters
the lighteaber and practises martial arts and marksmanship, but his
training also takes him to other worlds. On an Outer Rim world,
he survives for a month against a legion of assassin droids. On the
lorn mite-mining planet Dorvalia* he relishes the opportunity to use
his double-bladed Hghtsaber against living opponents. But it is in a
different duel, a test against his own Master, that Darth Maul opem
himself up to the dark side and becomes a true Sith Lord.
DARK BODYGUARD
Garyn's personal protection is
provided by Mighella, a highly
trained bodyguard who is also a
witch of Da thorn ir, or Nightsister.
Like «ill \ightsisters, she is skilled
in the use of I he dark side of the
Force. Mighella attempts to use
an energised sword to stop Darth
Maul, then surprises him with a
burst of Force lightning,
A moment after Mighella
realizes her opponent is a
Sith Lord with far superior
dark-side knowledge, she
is felled by a lethal slash
Vtfi
Maxi return* to Conuamt amt
prepare* forte* next mixtion.
MASTER AND APPRENTICE
10^4 Sututui presents his apprentice wirA the Sith htfilimfo.
* ruentiYfi? modified thirvouner equipped *ith n power]
rtwr M Otuf tl mmorcta) corporatfo®in the galaxy, i} jy
anti controls the majority of trada routes j
Acruss Republic space Jinn by the greedy J
Nfimoidiam, it reaped most 8t its wealth in fhe
Free Trade Zones of the 011 hying star systems,
where business was not re^nUjted
by the Republic Hut after t 11
Senate’s decision to
impose taxaHoi
these "free" zones, the Neimoid iaiuM*f(|i
lost profits—became engaged in a sch
to control not only the trade routes but.
the planets themselves. Surro und mg the
planet Naboo witli their battleships, the
Neimuidians threaten to cut ott all trade un
Queen Amidala, leader of the N a bop, endorses 4
treaty to allow the Neimoidians to occupy her world
aa
34
AM ID ALA'S ENTOURAGE
At 14 years old. Queen Amida la is not the youngest sovereign
to rule Naboo's democratic monarchy, but she Is among
the most beloved in her planet's history. Her most trusted
confidantes ore her handmaidens, who accompany her
everywhere. Trained for combat, these secret bodyguards are
also prepared to impersonate A midala if her life is threatened.
THEED RESCUE
Built on a high plateau where the River Solleu forks
off into waterfalls, Theed City is the Naboo's cultural
center The largest building is the Royal Palace, home
to Queen A midala Guided by Jar Jar, the Jedi's
submarine emerges in the Solleu near the Palace.
Rescuing the Queen and her protectors from Trade
Federation custody, they escape in Amidala's starship.
ESCAPE FROM NABOO
Fleeing the orbiting Trade
Federation battleships,
the sleek Royal Starship
heads for Coruscanl, where
Ami data intends to plead
for assistance for Naboo in
the Senate. Equipped
with deflector shields
jr but no weapons, the
handcrafted vessel
is vulnerable
to attack.
kuorlrd out ttf
Oloii Guitgu by
Captain Tarpah,
aciidcni'prmr
Jill Jai itini i h iijt
tximihfil after he
ttfxtnnrd
\w s 'x prizrd
hfyblihbtr
submarine.
THEGUNGANS
Indigenous natives of Naboo, the ’
Gungans are an intelligent species
with a strong respect for nature, m t
which is reflected in their use Jr
of natural energy and organic w 0
technology. The Gungans *
have a longstanding warrior
tradition and are always prepared
to defend themselves. Most Gungans believe
the Naboo regard them as primitive beings,
and are generally suspicious of humans.
HEROIC ASTROMECH
When enemy fire damages the Royal Starships shield
generator, aslromech R2-D2 bypasses the power drive
to restore the deflectors. Amida la expresses thanks to
the droid for saving the livesof all on board.
35
The Old Repubi ic
32 IMi.Y.
| ABBA THE HU H
Born Jabba Desilijic Hurt, but better known
as Jabba I ho Hutt, this corpul ent gangster
controls a criminal ompire that traverses
the Outer Rim Territories- With enterprises
that include smuggling, spice dealing,
slave trading, gambling, assassination, and
piracy, Jabba firmly believes the! too much
of a good thing is never, ever enough-
On Tatooine, he presides over the Pod races
with an almost regal demeanor, hut in fact
can's no)lung for the sport except for the
revenues generated by his gambling dens.
Aided by hi i TVt *tek majot'datno Htb Foftkhft,
Mihba f he /tuft }\itl muuin Immune j reiynmy
i rimehmi far nk#j>;v mw.t la come.
THE COUNCIL'S DECISION
Presenting Anakin In the Jedi Council, Qui*Gun asserts his belief
dial the hoy is the Chosen One* A.% most jedi begin their training
hi infancy; the Cuvmril are uncertain about the wisdom of
training the boy. Tested by the Masters, Ana kin demonstrates
great ability with the Force, bui he ^ deemed tins old and filled
with anger. Qui-Lkm protests the decision, but the Council
refuses to allow him to train Anakiu. However, they do permit
the boy to remain in QuLCon's charge for tire Hme being.
Aftrt Anakiu m nimble* abttani the Riiyitl Starship, Obt \Van
rAKiurM the fhlaf Ric prevent Watto taking
the valuable droid components for
himself. Anakin successfully rebuil t
the droid, which he named C-3P0,
but did not have proper metal
droid coverings to finish the job.
RIVAL RACER
In the Boonta Eve Pod race, Anakin faces
Sobulba, a Dug from Malashov who
employs dirty tricks to eliminate his
competition. Although favored to win,
the Dug loses control on the final lap and
crashes. After I he race, he readily agrees
to buy Anakin's Pudracer from Qui-Gon.
bio stronger to gambling, Wtan> hn\ wcni unit Urn a few smalt fortunes.
He nnrr bet a yam %t Srbulim in a /Wrairr, and actually came out ahead.
THESITH REVEALED
After tracing A midala's starship to Tatooine, Darth
Sidiuus instructs Darth Maul to apprehend Queen
Am ula I a and bring her hack In Naboo to sign
the Trade Federation's treaty, Darth Maul travels
across space and finds his quarry, but Qui-Gon and
Anakin arrive at the repaired starship in time for
the Jedi Master to thwart Maul's ferocious assault
Leaving Maul fuming in the desert, the Jedi race
away with their allies to Coruscant, where Qui-Gon
informs a stunned Jedi Council of his conclusion; the
3 ightsaber- wielding at lacker is a Silh Lord,
THE CHOSEN ONE?
36
37
The Oi u Republic
BATTLE OF NABOO
GUNGANS VS DROIDS
Consisting mainly of part-time
soldiers, theGungan Grand
Army convenes in the swamps
before heading In I he Great
Grass Plains, where they plan
to draw the battle droids away
from Theed. Kaadu-mounled
cava fries lead the tramps, and
giant fambaas carry powerful
energy shield generators to
protect the Gungans from aerial
bombard men I. The shields hold
up against the enemy lasers,
but the dmids ore able to step
through the energized barrier
and confront the Gungans.
tiu kmm independent thought
ffflmiwi; battle Jrttids carry ant
their tmirr\ without ifiie.iiuvt.
W HEN AM IDA LA'S STARSHIP returns to Naboo, the only remnant of the Trade
Federation's orbital blockade is a single Droid Control Ship, which coordinates
the actions of every Federation droid on the planet. The droid army has seized
Theed and driven the Gungans out of Otoh Gunga. Joining forces with the Naboo,
the Gungans amass an army in the swamps outside the city. While most of the battle
droids are deployed to confront the Gungans, the Naboo infiltrate Amidala's heavily
guarded palace and hangar, taking weapons and starfighters into battle. The arrival of
Darth Maul, instructed by Darth Sidious to kill Amidala and her Jedi protectors, poses
an even greater threat. Confronting Qui-Gon and Obi*Wan, a duel ensues that leads
the Sith Lord and the Jedi deep into the Theed power generator complex.
devastating vote
In the Senate 1 , Chancellor Finis Valorem
(center left) asks Amidala if she will allow a
commission to investigate her accusations
against the Neimoidians. Unfortunately,
Senator Palpatinc has conv inced Amidala
that Valorem is an ineffective leader,
and she moves for a "vote of no
confidence" that leads to the
election of a new Chancellor.
A New Alliance
On her return to Naboo, Amidala is
accompanied by Qui-Gon Jinn, Obi-Wan
Ken obi. Jar Jar Bitiks, and Anakin, After finding
Otoh Gunga abandoned, Jar Jar guides the Jed i.
Ana kin, and Amidala's retinue to the Gunga n
sacred place where Boss Nass and the Gungans are in hiding.
Boss Nass does not welcome the group because ho suspects
they are somehow responsible for
the droid invasion. But when
l\idme steps forward to reveal
herself as the true Queen and *
appeals for help, Ik»ss Nass
realizes that the Naboo
are his strongest allies.
32 B.B.Y.
f tin Wan raft anh waieh as I tariff Muni
deihen a killing Now In (tut (inn,
par their nimtNnrd training nrnS rtpcricmr. the Jail art rutt prefmreil
•■hr rulhle%i fifthltrtft lechrmiues employed h\ tkirth Mont
^ DUEL OF TIIE FATES
When Qui-Gon is briefly separated Imm
Obi-Wan by an energized laser barrier, L>a.rth
Maul uses hw superior Sith fighting skills to kill
the Jedi Master. Atop the core lunnel of the power
generator. Obi’Wan lashes onl at the Sith Lord but
loses his grip on his lightsaber As Maul prepares to
strike. Obi Wan uses the Force to summon his fallen
Master's light saber, and sweeps the ignited blade
through the Sith Lord's torso,
\\ AKIN JOINS THE FIGHT
Instructed by Qui-Gon to hide,
Anakin lakes cover in a Naboo
srarfighler. Its autopilot engages,
and hr is whisked straight to
the splice battle With the flight
controls on manual, Anakin
accidentally penetrates the
Droid Control Ship and fin's
torpedoes into its reactor room,
escaping as the vessel expit »des.
W r ith the Control Ship gone, all
the battle droids stop fighting.
■W* Jfl 't efji'jjflo Iante true when he
pjftjfg a uanhip far the first time,
a IA N C li l. LO R PA I TATI N F,
Newly elected as Chancellor, Palpatinc
arrives a! Naboo in time for the victory
celebration. Meeting Anakin, he promises
to watch the hoy's career with great
interest, Although Amidala has survived,
Darth SidiousT greater plans are still in
motion, hot I he Sith bond will require a
new apprentice to replace Darth Maul
A LAST REQUEST
Mortally wounded, Qui-Gon uses his last
breath to ensure Anakin will become a Jedi.
Inheriting something of his Master’s defiant
nature, Obi-Wan later informs Y< id a he will
honor Qui-Con's request, with or without
the jedi Council's approval- Despite YinJa’s
reservations, the Council agrees to
let Ana kin become Obi-
Wan's apprentice,
32-22 b,b.y.
^ MY ~
LK3HT-
STILL
MISSING
VgCtY (WELL
wrapoi
The Old Repubuc
B 4TTLE ON KINTAN ^
Dooku is fermenting unrest
throughout the galaxy. On Ryloth, he
rcheslrate* i kidnapping in an attempt lo mnki
Ryloth break from the Republic A TWHekdan
i’jdcr% voting stun is under the probation of
|edi Master Tholme
wheirpothare |
.\ikto .
called the SSf % 1
Morgukni,
Quintan Vos ■ Mm W \
(above, top right)
and Aaylo Socura
track the Morgufcai
to their home world, ^■^9/'“
Raritan, and rescue
Tholme and
the hnv
F OUR YEARS AFTER after the Battle of Naboo, the Galactic Senate reelects Supreme Chancellor
Pal pa tine to a second term. Pal pa tine continues to maintain order in the Senate, forges
alliances with powerful figures, remains free from scandal, and—unlike some humans—never
displays any indication of bias against different species or cultures. But during his reign, many
Senators come to question the very foundation of the Republic, which seems to have evolved
into nothing more than a political machine designed to funnel money and resources to the capital
world of Coruseant. Unrest and dissent is beginning to spread throughout the galaxy, and in these
increasingly troubled times, Palpatine frequently seeks help from the Jedi. Meanwhile, the former
Jedi Knight Count Dooku, who left the Order after becoming disillusioned with the Republic,
is engaged in mysterious, secretive dealings that will ultimately play a decisive role in
determining the fate of both the jedi Order and the Republic itself.
Scatterfd Forces
Traditionally, the Jedi
Council seldom leaves the
Jedi Temple, but increased
unrest throughout the galaxy
prompts several Council
members to travel far from
Corn scant. In one incident, six
members—including (below, left to
right) Adi Gallia, Mace Windu, and
KLAdi-Mundi — travel to Malastare to
mediate peace negotiations between
warring factions on Lmnik, but
the negotiations end after the first
disastrous meeting. Adi Gallia and
KFAdhMundi also participate
in the hunt for Aurra Sing.
During this period, Ki is
often accompanied by
his Tusken Pa da wan,
A'Sharad Hett
(far right).
PORTRAIT OF A JEDI
Memorialized by sculpture
in (he Jedi Archives, Dooku
is one of only 20 ledi who
have renounced I he Order.
CLONE TEMPI. ATE
Around the same time as the
Battle of Naboo, Count Pwku
begins his search for the perfect
soldier to serve os a template
fora genetically modified clone
army, Dooku pits the galaxy's
most dangerous mercenaries
against each other, and the
eventual vie lor is Jango Felt,
the Last of the MandaEorrans-
0n one of the moons of
Bogden, Dook u—p r esen ting
himself as Lord Ty farms—
meets Fctt, who agrees to
become the prime clone.
STALKING AURRA SING
When bounty hunter Aurra Sing
(far left) attempt* to assassinate her
former teacher, (lie I Wk Woman, she i*
intercepted by a Ee.im of fed) that include*
Hu' lusken A'Shar.nl llett (near left), wlut
.mils Eo bring l in in for I he murder
ol lus lather, Sharad Hm when the
Jedi duels with Sing, he realises,
he wants to make her suffer
Sing escapes, leading A'Sharad to
question hi* role in tire Order
Afire .WffVrtf Sitilfittf ftfit Idfc'iTf i*n fiaimJiJr
LOST LIGHTSABER
In the years following the Battle of Naboo,
Ana kin Sky walker becomes a promising
Padawan under Obi-Wan Kenobi's tutelege
Sky walker is powerful with the Force, but he
is not always mindful. After he and Obi-Wan
are assigned lo meet with representatives
of a world where thievery is regarded as a
social skill, Anakin realizes that his lightsaber
is missing Without informing his Master of
his loss, he attempts to find
the weapon on his own.
Failing, he confronts Obi-
Wan, who was not only
aware of his Fndawari*
predicament but has
already managed lo
recover Anakiris
lightsaber.
THE DECAYING REPUBLIC
The Old Republic
32-22 b.b.y.
RISE OF THE SEPARATISTS
E IGHT YEARS AFTER Supreme Chancellor Pal pa tine's
election, the elusive Count Dooku surfaces on Raxus Prime,
a world strong with anti-Republie sentiment. Dooku gains
support for his demands of political reform, but, knowing that
the Senate's bureaucracy will deter any reform efforts, he soon
shifts his goals toward political independence. As more and
more worlds enlist in Dooku's $o
recognise the dart thai killed Zam Wesdt
Obi-Wan turns to his old friend Dexter
Jettster, the chief cook and proprietor of
Dexter '5 Diner. A well-traveled Besalisk
with an extremely retentive memory, Dexter 4
instantly identifies the projectile as a saberdart i
from Kami no, a planet with cloning facilities. 9
MISSING PLANET
Having learned Kj mi no's approximate location from Dexter jettster,
Obi-Wan flecks more information (mm the Archives at theJedi
Temple. Much to his surprise, there are no records of Ram mo or
its star system, y et a scan of a holographic star map reveals that
gravitational forces exist in the area of space that Dexter specified .
Qbi-Wan shows the star map to Ytxb and a group of young Jcdi
pupils, who quickly -conclude that the gravity indicates the planet is
there, hut that someone erased it from the archive memory,
FORBIDDEN LOVE
While Obi-Wan tracks down the bounty
hunter. Ana kin escorts Pad me hack it>
Naboo and continues to sen e as her
prelector Although Jedi teachings forbid
Anakin from having emotions that
could cloud his judgment, and Fad mo
maintains her Senatorial responsibillies
preclude kive, they find themselves
unable to suppress their true feelings.
A FTER FINISHING HER elected term as Qutxn of Naboo, Pad me Ami data
continues to represent her world as a Senator. She opposes the Separatists'
efforts to leave the Republic, but is also against the Loyalists who propose the
creation of a Republic army. Having experienced the misery of war firsthand
on Naboo, Amidala travels to Coruscant to discourage the Galactic
Senate from voting on the Military Creation Act* Moments after
her arrival, Pad me's starship explodes on the landing platform,
killing several people, including her decoy, Corde. Following
this attempt on Senator Amidala's life, Chancellor
Pa I pa tine arranges for the Jedi Master Obi-Wan
Kenobi and his apprentice. Ana kin
Sky walker, to protect Pad me*
RitiinR W art open
ayp mnpredfr.
4fvdiii and
Obi- Wijfl purutr
2m WwMV
vehicle ihntufth
the skies above
(Yiranrunf.
Chasing Zam Wesell
Taking immediate action to catch
the person who released the kouhuns
into Pndme's quarters, Anakin liberates an
Jlrspeeder from a parking bay and joins Obi-Wan in
pursuit of a green Kora-2 exodrive vehicle. The chase takes
them through the Senatorial, financial, and industrial zones of
a densely populated quadrant, and ends when they capture
Zam Wesell, the Kom-2's Gawdite pilot, in an entertainment
district. The Jedi attempt to interrogate Wesell, but before she
tan reveal ihe identity of the bounty hunter who hired her,
she is killed by a toxic dart. The Jedi spot the armored figure
who fired the deadly missile, bul are unable to stop him.
ASSASSIN S TARGET
Ina second attempt on Padme's life, Anakin
''tops two keuhuns—deadly arthropods—before
they can reach Pad me as she sleeps in her
quarter* on Conisranl, Although ihe Jedi were
assigned only to protect Padmd, Anakin is
determined lo apprehend the would-be assassin
THE CLONE ARMY
■H
22 b.b.y.
1 ONE SOLDIERS
m. mg on the stormy world of Kg m inn, Obi-Wan is taken
1.1 tour of fipoca City's cloniqg fiktlities. Using growth-
■cvrierntiqn technology, lhe KiWiim^ins are able to produce
developed human clones ft ithi n 10 years. By the time
Kim obi's visit, 200,(XH)douefl'liaw matured, and another
m on are in production. The done> are physicany identical
t» '-eir genetic host, a bounty hunter named fango Fett, but
— sneered to lx- more durable and completely obedient.
K- part of his payment, Fett requested a single, unaltered
d me to raise as his son, naming him Boba, Kenobi visits Jango
nd his son in their quarters, and realizes that Fett is the man
rid the ossa ss inal ion at tempts on Coruscant.
THE MYSTERY OF SIFO-DYAS
When he is introduced to Kandnoan Prime
Minister Lima Su, Obi-Wan is surprised to
learn that the Kaminoans anticipated a visit
Imm a ledi, According 10 Luna Su, the Jidi
Master Sifo-Dyas commissioned
a done army for
10 years prior to
arrival This intrigues Obi-
Wan, who recalls that
Sifo-Dyas was killed
almost a decade ago.
Inside fipoca Cl tmi he Kotumtmn
Jo Ur three 11 ttbi-Wun x gagf
f,t mibrVtmk 1 limits h
HTlAiff ptt/Wik fan. fbejttry (Ulr 1 ft
constant motion to umsdubr brum
oefatiy m tike dewtvpixx chtit
ORIGIN OF A BOUNTY HUNTER
On the colony world Concord Dawn, the young Jango Fett was
orphaned when ho- family was killed by the ruthless Death
Watch, a bloodthirsty splinter group of cx-Mandalorian warriors.
Jango was rescued and adopted by the true Mandalorians, who
maintained their millennia-old tradition as highly-paid soldiers.
Fett eventually became the Mandalorians' leader and destroyed the
Death Watch, but two years before Ihe Battle of Naboo, a conflict
with the Jedi left him as the sole-surviving Mand.ilorian warrior.
CLASH ON KAMINO
Having learned Felt was hired
to be 1 genetic host by a man
named I y ran u s, Obi -Wait is
determined lo find oui more
about the army's origins and
to discover who hired Jango to
try to kill Pad me. Kenobi falls
to stop Jango and Buba leaving
Kaminn, but secures a homing
device on their ship, Shtw J, that
enables him to track them
‘—
Tin Oui Ririmi it
22 B.B.V.
A JED I AMONG TUSKENS
Commonly known as Sand People, Tusker Raiders were
named after their assaults on Fort Tusken, the first human
settlement in Taltxiines northern sector. Former Jed i
Knight Ski rad Kelt (below 1 center) was one of the few
humans ever to join this mysterious, nomadic race.
Rising to clan leader both Hett and his clan were i
killed when t hey been me in volved in Card u I la t he
Hiatt's i II- fa ted a I tempt to overthrow Jabba's reign. J
Ambushed f«i (tunluUii,
mum itf Hr 11 s dun nrw
ttiUrd tn a bttmtHintmtnl.
TRAGEDY ON TATOOINE
REUNION WITH WA1TO
When Anakm meets Watto, theloydarian is
.iiiiu/ed In see the Jls.Ii I le tells Ana kin dial
lie sold Shmi to .1 rmiislure farmer named
t Legg I ors, who freed her and married her
and directs him (it the I or* homestead.
W HILE SERVING AS Pad mo's protector on Naboo, Am kin has a series of
rrightmaros abt>uthis mt 1 1he r, Shmi. In thost* horri f ic dreams, he sees and
feels Shmi's agony as she is tortured by unknown assailants. Refusing to dismiss
the visions as products of his imagination, he tolls Pad mo that he must travel
to Tatooino and find his mother, who he has not soon since leaving the planet
to join the Jedi Order 10 years previously. Ana kin is determined to undertake
this personal mission, even though it means disobeying his orders from the jedi
Council to protect Pad me from the threat of assassination. Rather than allowing
Ana kin to get into trouble with the Jedi Cou ncil, Pad me decides to accompany
him to Tatooino, effectively remaining under his guard. Traveling from Naboo
in Pad mo's Nubian Yacht, they land in the spaceport of Tatooino"s disreputable
capital, Mos Is pa. \ leading into the city, they take a robotic rickshaw toward
Anakin's old neighborhood to try to find Watto, hvs ex-master.
M ifv Lifts fimitv * pirtVunr farm, Ptkltitf mti Anuktit mm
tXwi* fjfflra mid Mt ntHfrisruf, firfu Jh1 1 an of $hmi > fawhcifut,
Owen, j.i JiV/um uiiy AruLn 1 Mcjftiittfhrr,
Tracking Tuskens
F rom Clicgg Lars,
Ana kin learns that his
mother was abducted
by Tusken Raiders a
month ago. A rescue
effort resulted in the massacre of 26 farmers and the
loss of Cliegg's right leg to a lethal trick wire. Anakm
senses Shmi is stilt alive, and borrows Owen's speeder
bike to search for her. Arriving upon a Jawa camp,
Anakm exchanges a multi tool and portable scanner
for information from the Chief jawa, who directs him
eastward to a high plateau. From this vantage point,
Ann kin sights a Tusken camp in the valley below.
WHY COLILDNT1 SAVE HER?”
After the massacre at the Tusken camp, Ana kin returns to
rte Lars homestead with his mother's body Contused and
^4raught; the young Fadawan admits to Fad me how he
«.!'■ unable to stop himself from slaying the Tusken Raiders.
Vthough Fadmtf forgives Anakm for acting upon his emotions,
vnakin considers himself a failure; not for slaughtering
rue Tuskens, bul because of his inability to stop
tm mother from dying
VENGEFUL SON
After Shmi breathes her last, Anakin's anguish is replaced by an overwhelming, raging
anger. Exiting the hut, he unleashes the full power of his fury upon Shim's tormentors.
Igniting his lighLsaber. Anakm does not stop until the lethal blue blade of his Jedi
weapon has cut through every Tusken in the camp, including the women and children.
FINDING SHMI
Anakm infiltrates the lusken Raiders camp
and It Kates Jus captive mol her in a guarded
hut. Suffering from terrible wounds, Shmi is
astonished lo see her son again. In terrible pain,
she tells him that seeing him once mom has
made her complete, Anakm prepares to carry
her out of the hut, but she dies in his arms.
THE MAKER RETURNS
Now covered w ith droid
plating installed by Shmi,
C -JPO is distressed by
her death bu t ivlfeved to
Sc reunited with Arakin,
A lieu K1-U2 recviven an
from
nergenn
I I M • - - .: ; v
Obi-Wan, C
Ana kin, Pat
WO
Mils
I'at Sine
I
in
re . 1J l 1
HiLVUO
The Old Republic
BATTLE OF GEONOSIS
a;
FTER TRACKING Jango Fctt to
Geonosis, Obi-Wan discovers that
Note Gunray is behind the assassination
attempts on Pad me and that the Trade
Federation ts taking delivery of a
Geonosian-manufactored droid army.
He transmits this information to Ana kin,
who relays it to the Jedi Council, but
Obi-Wan is captured. Interrogated by the
manipulative Count Dooku, Obi-Wan
is told that a Sith Lord named Darth Sidious controls the
Republic; Escorted to an arena, Obi-Wan learns that Ana kin
and Pad me — who traveled to Geonosis to rescue him — have
also been captured and sentenced to death. On Coruscant, Jar
Jar Binks—acting as the representative for Naboo in Padme's
absence—proposes the Senate gives emergency powers to the
Supreme Chancellor, enabling Pa I pa tine to summon the clone
army From Kamino.
BLOOD SPORT
Dooku, Lingo ana Hobn Few, iind
thousands of Geonosian warriors
watch as three gigantic creatures
are released into I he execution
arena. Obi-Wan, Ana kin r and
Pad me are still lighting their
monstrous opponents when Jedi
reinforcements nrrive.
Swptnded in <t Jortr field.
f J'Jjj LIej#i rejects Dooku'x
offer to join the $<p<irnli\Is.
Nowhere to Run
Responding to Obi-Wan's relayed message. Mice Windu and
200 Jedi travel to Geonosis to rescue him and stop the Trade
Federation from obtaining mure droids, Jango Lett opens fire
upon the Jedi, but Mace Windu retaliates and slays the bounty
hunter. Boba Fett, jango's doned son, is orphaned as
t a result of Mace s action and must now rely on
his own instincts to survive. Despite their
'P p<wcrs and ahilities, 11ie Jedi arv vastty
outnumbered by the battle dniidS'
fk and arth Sidtouss
scheme to prolong the war, as it
removes the ad vantage Menu's
abilities give to the Separatists.
22-19 B.B.V.
On the mrvn RmuI in ihe Snluur vniem, Urnffrii te six thm-
ode Jedi at juttenliiii eft rmltfm the Xeptimtitf*
ASAJJ VENTRESS
Initially trained by the Jedi Ky
Name, Asajj Ven tress turned
k to the dark side after Narev's
Ik murder. Years later, Ven tress
Vl defea Is manv glad iators i n a
^k contest to impress Dooku,
k ^k who gi ves her a pn i r of
lightsahers and makes
^k her a commander of
^k ^k the Separatist army;
THE DROID GENERAL
Bom a Kalecsh, General Grievous led his
people in a war against I heir savage planetary
neighbors, the Huk, whose ore-rich worlds
received support finm the Republic, In a
mysterious aircraft accident Grievous was
mortally wounded. On the verge of death, and
swearing vengeance on the Jedi for allying
with the Huk, Grievous accepted the Banking
Clan's offer of a new droid body and relief for
his people. In return he became the leader of
the Confederacy's droid armies, and received
light saber instruction from Count Dooku.
GENOCIDE ON OHMA-DTJN ^
Shortly after the Rattle of Naboo, Gungan colonists
settled on Naboo's moon Gbma-D'un, Ton weeks after the
Rattle of Geonosis, fk>ss Nass loses contact with the colonists,
and the Jedi are summoned to investigate. The Jedi find the
Gungans dead, victims of a chemical Weapon developed by the
Confederacy While Arakin races to stop a convoy of starships
from releasing the same toxic gas in Naboo's atmosphere,
Obi-Wan has his first encounter with Asajj Ventrvss and Durge.
Months Later, the threat of this particular weapon is nullified
when Obi-Wan obtains the antidote from a secret chemical a
factory on the planet Qucyta. m
C ONFUCT DN AARGONAR
nder the impression that Obi-Wan was killed on Jabiim,
the Jedi Council assign Ana kin to travel to the desert world
Aargonar with theTusken Jedi Knight A'Sharod I ielt. son of the
■mod Jodi Sharad Hett, After their mission is disrupted by an
n-charged sandstorm, a fatigued Anekin becomes delusional
and cannot resist his desire to attack Hett. A'Sharad subdues
Ana kin and lea ms why he hates luskens, but is unable to
convince him that a true Jedi ha* no use for prejudice,
|LD1 GENERALS
Like I he oilier Jedi who agree to fight
on behalf of the Republic during the
Clone Wars, Ana kin, Mace Windu,
and Obi-Wan serve as generate. On a
mission to Dantooine, Mace Wirnlu
single-handedly destroys a huge
seismic tank to defeat an army of
Federation droids. Obi-Wan survives
jabiim but becomes obsessed with
hunting Asajj Ventress. Anakin gains
a reputation as a greal starpilot and
proves himself to be a courageous
warrior, but a lighLsaber duel with
Venlress leaves him facially scarred,
(irwuiu* n nnuntirr l)»il the shtp truth
lin it fat to his ryhrmrnr rtvon sintctton
utur jw %ni top thxtkU: The Omni talk/ve)
used Jtiif powers k> keep the itnrwiH tuui
Genetui uUst f t i^hit ut ptsn of Ai t plan jo
recruit Grirrewu to the Sepamthi cause
The Clone Wars
KIDNAPPED!--
19* B.B.Y
H OPING TO DEFEAT the Trade Federation, Obi-Wan and Anakin
attempt to capture Nute Gunray on Cato Neimoidia, Gunray
eludes the jedi, but they manage to recover his hologram-transceiving
mechno-chair. This device yields information that could lead to the
apprehension of high-ranking Separatists and the location of Darth Sidious.
Their find prompts Obi-Wan and Anakin to begin a hunt for Count Dooku,
while Mace Windu leads a Corn scant-based team in search of Sidious.
Unfortunately, the Jedi do not realize they have been manipulated by the
Dark Lord, who has diverted their attention in order to carry out his most
complicated scheme—the kidnapping of Supreme Chancellor Palpatine.
The Sith assigns the abduction task to General Grievous, who remains
unaware of the true motives behind Sidious's devious machinations.
The Search for Palpatine
After failing to capture Count Dooku on the planet
Tv the, Anakin and Obi-Wan learn of Supreme
Chancellor Paipatine's kidnapping. They race back to
Coruscant as the Separatist Droid Army attempts to
flee with their captive, and engage an overwhelming
number of droid starfighters in space combat, Aided
by R2-D2, the two jedi manage to land their fighters in
General Grievous's starship. Leaving a trail of ruined
battle droids behind them, they finally infiltrate the
chamber that holds the captive Palpatine.
\ ■
JEDI FIGHTER ACE
During the Clone Wars, Anakin Sky walker gains a
reputation as the best starpilot in the galaxy, and is
recognized by Grievous as the "hero without fear." Despite
his abilities, Anakin is haunted by the death of his mother,
whom he xvas unable to protect. When he learns Padm£ is
pregnant, he has nightmares that she will die in childbirth.
4**T x
DOGKU'5 FATE
Aboard General Grievous's starship, the
shackled Palpatine watches as Count Dooku
emerges to fight the Jedi rescuers. Dooku
knocks out Obi-Wan, but is soon at Ana kin's
mercy, Palpatine then orders the Count's
execution—and Anakin complies.
THE GENERAL'S TROPHIES
Accompanied by his droid
MagnaGuards, General Grievous has
added many lightsabers to his collection
since his first Jedi kills on Geonosis.
Because so many Jedi perished in that
battle, these particular murders were
not initially attributed to Grievous.
REPUBLIC STARFIGHTERS
In the war against the Separatists,
Obi-Wan and Anakin pilot Eta-2
Adis Interceptors (left and right)
% with retrofitted controls to
accommodate their Force-
assisted piloting abilities.
Republic Army done
trooper pilots fly
shield-equipped
ARC-170 fighters (above}
and V-wing fighters, and
serve as trusted wingmen
their Jedi commanders.
CRASH-LANDING ON CORUSCANT
Emergency fireships race alongside the
remains of Grievous's Trade Federation cruiser
as it plummets toward the surface of Coruscant.
Despite extensive damage to most of the ship's
system®, Anakin wrestles with the controls
to bring the vessel down safely on a landing
platform located in the heart of Coruscant r s
busy industrial district.
A
1-fS
GRIEVOUS RETREATS
Prior to Pa I pa tine's abduction, Kenobi and
Sky walker defeated General Grievous when he
attempted to invade the world of Beldemne.
Watching as the Jedi attacked his invasion
fleet, Grievous vowed revenge. Obi-Wan
and Ana kin's arrival on his flagship,
and the subsequent demise of Dooku,
leads to a ferocious battle between
the cy borg and his enemies.
Hit by laser fire from a
Republic warship, the
flagship begins to fall
out uf orbit. Forced to relinquish
Palpatine, Grievous flees in an
escape pod and Jettisons the
remaining pods, leaving the Jedi
to fry to save the ship.
Tt n; Clonk Wars
POWER OF THE DARK SIDE
n att it: o n uta pa u
\-n An iti:1 uiimi »rt httfagtui'tw ammunmuHm Jin- Mutters ore
ditiHfhrd hr AmkiH "i appthnnncni m fintpoiUM 1
rrprrimtahxr, but reltiittlftlh allow it
E ver since their first
1 nou t i n g, Ch a ncel lor Pa I .pa I i ne
has made Ana kin feel special
a n d u n 1 q Lie a mon g the Jed i.
But during the Clone Wars,
[\ilpa Iine plants seeds of anxiety,
encouraging Ana kin to believe
that the other jedi are envious
and fearful of his powers,
and not altogether supportive
of democracy. When a constitutional amendment allows the
Chancellor's Office to take command of the Jedi Council, Palpatine
draws Anakin closer into his confidence, asking him to accept a
post as his personal representative on the Council. Meanwhile,
Mace Windu and Yoda suspect that Palpatine might he under
the control of the mysterious Sith Lord Darth Sidious. When the
Council learns of Anakin's appointment, they privately agree that
Pal pa tine's influence on Anakin is dangerous, but decide—against
Obi- War's protests—to enlist Anakin to spy on the Chancellor.
A Night at the Opera
Invited to meet w ith Palpatine at the Galaxies Opera House,
Anakin listens as the Chancellor states his belief Ihot the
Jedi Council is planning to overthrow the Republic
Although Obi-Wan has cautioned Anakin to be careful,
Anakin finds himself torn between his loyalties to the jedi
and to Palpatine, and he wonders If the Council is indeed
manipulating events. As Anakin has had recent nightmarish
visions of Pad me dying, he is captivated when Palpatine tells
him of The Tragedy of Darth Plague is the Wise, the story of a
Sith l ord who had the power to keep people safe from death,
Riding ihi tin tiniKiwmirunt H\'xu Ohi*
fmmuex Cette mi Qnrt'tmt’t wheel hk* 1
through a unUn/lr < tty <W I ftitptHL
LOYALIST COMMITTEE
In the wake o f the many worlds that are abandoning
the Republic to join the Separatists, the Galactic Senate
is left with a majority of Senators who continue to
support Chancellor Palpatine, However, a growing
number of Senators are alarmed by Palpating"*
numerous revisions to the Republic Constitution.
Senator Mon Molhma of Chandrila, Pad mi 1 A midala
of Nnboo, and Bail Organa of Alderaan found a secret
alliance to seek a diplomatic solution to the war and an
end to Pa Ipa tine's democracy-crush mg amendments.
56
19 n.n, Y.
SITH RITUALS
Chancellor Palpatine spent many
years studying ancient Holncmn*
to learn the secrets of the Sith.
Hie Holocrons ona bled him to
channel Sith spirits (right}, who
laugh I him how to harness
dark-side energy anti release
lethal bolls at lightning. During
I he Clone Wars, Palpaline conducted
Sith rituals on Coruscanl that radiated
unnerving ripples in the Force, which
caused anxiety among most Jedi throughout
the galaxy, but also served to increase Anakin
Sky walker's hunger for power.
DEFENDING KASHYYYK
After the Separatists attack the Wookiee plane I Kashyyyk, Yoda travels there
to lead the defense 1 . The Jedi Master's departure from Cortiscanl is also part
of a plan to lure Darth Sidious into the open. Unfortunately, none of the Jedi
have anticipated the Sith Lord's next move.
fiilfkitiHr Uf c.fSith
IrRhlrrttiit m uitutl
*toiT Hfotifo, bw the
Ut/t Matter |txrx hit
!■ thliahcr ft) force the
tnrrjiv hnit r injck
upon the Sith Lord,
Kttnuni if hit feature*
Flttpmutc tumifurfij:
tlfmm Atmhn, uhtt
SHOWDOWN ON CORUSCAN I
Following General Grievous's dealh, a contingent of Jedi confront Palpatine
to ensure his surrender of emergency powers. Palpatine surprises them
by igniting his own lighLsaber, quickly slaying all but Mace Windu, who
lea ms too late that his opponent's greatest weapon is Anakin Skywalker.
A NEWNAMh
After dispusi n g ul Mace
Wtndu, Palpaline bequeallis
a name to his new
apprentice: Darth Vader
Vader's first assignment is to
eliminate all the Jed I at (he
Temple, Vader believes his
actions will restore order to
the galaxy, and lliat lie will
gain the knowledge to keep
Pad me safe forever
The Clone Wars
THE JEDI PURGE
A NEW REGIME
On Coruscant, Pal pa tine
.] J dresscs the Senate.
He claims an assassination
jrlemp t by treacherous jedi
has left him disfigured; he
then rallies the Senators
to support a new regime,
an Empire that he will
ruic far life. The majority
of Senators respond with
cheers and applause.
THE SURVIVORS
Both Yoda and Obi-Wan
manage to escape the Jedi
Purge, and ignore the
subsequent transmission
that summons all Jedi back
to the Jedi Temple. Reunited
on Bail Organa's starship.
Timbre IV, Yoda and Qbi-
Wpn agree (hat they must
return to the Temple and
disable the recall signal.
A LTHOUGH SUPREME CHANCELLOR Palpatine vanquishes the
four Jedi Masters who attempt to arrest him, and has assigned
Ana kin Sky walker the task of massacring those in the Jedi Temple,
thousands of Jedi Generals remain scattered on distant worlds across the
galaxy. Before any surviving Jedi can learn about Palpatine's actions on
Coruscant, he activates a secret plan that he designed many years before
to eliminate the entire Jedi Order, He also twists information to his own
advantage by informing the Galactic Senate that the Jedi had intended
to assassinate him in order to seize control of the Republic. By the time
the Supreme Chancellor convinces most world leaders in the Senate that
the Jedi are traitors, he has already succeeded in destroying nearly all
of his most powerful adversaries, leaving no one to stop Pa I pa tine from
proclaiming himself Emperor of the galaxy.
ORDER 66
On Utapau, Clone Commander Cody receives a
holographic transmission from Pal pn tine, who states,
"It is time. Execute Order66." An emergency protocol.
Order 66 identifies all jedi as traitors to the Republic
that must be eliminated with extreme prejudice.
The transmission is simultaneously beamed to done
commanders across the galaxy and, moments later,
hundreds of Jedi are murdered by their own troops.
THE SEPARATISTS' FATE
While hiding on the volcanic planet Mustafar,
the Separatist leaders receive a message from
Darth Sidious, and are led to believe that
the Clone Wars are over and peace has been
achieved. They are about to shut down their
dmid armies, but are executed by Darih Vader
when he arrives on the fiery world.
Jedi Slayer
As Ana kin is well-known among the Jedi, and no one but
the Emperor is aware of his conversion to the Sith, he has no
difficulty gaining entry to the Jedi Temple. Transformed into
Sidious's agent of evil, Darth Vader, he cuts down every Jedi in
his path, including many younglings. Leaving done trooper
squads to exterminate any Jedi w ho remain in the Temple,
he visits Padmt 4 to tell her that the Jedi have attempted
to overthrow' the Senate. J 5 adm£ listens with stunned /
disbelief as her beloved tells her that he has renounced
the Jedi Order to help PaJpatine save the Republic,
and that he intends to end the war by completing on
important mission on Mustafar.
Following fox Matter's vrdrrs, Voder kith Sfoi Mai and
Wat Tambar (above i, The Siih Lord rwtftfJ oil of the
Separatist leaders. iravinjf ,\fote Gunrtn fur tut.
hke many other doomed Jedi. a yowtgtinx waltzes
loo tale that Atwkifi i ttmsion ii mi to help the
besieged Jedi—hat to eiiernunaie them.
BURNING TEMPLE
TiWfftv tV delivers Obi-Wan and Yoda to
Coruscant, where they find many dead bodies in
the ruins of the Jedi Temple, Stealthily evading
clone tnmpersObi'Wan retrieves the Temple's
security scans to see for himself which Jedi has
turned. When the scans confirm the identity of
the Sith Lord who slew the younglings, Yoda
decides to visit the Emperor while Obi-Wan
hunts down Darth Vader.
UNEXPECTED BETRAYAL
As Order 66 is implemented across the
galaxy, Jedi Generals such as Aayla
Secura (left) are taken completely
unaware when they suddenly become
a target for their own troops' weapons.
DUEL IN THE SENATE
Yoda finds the Emperor in the
holding office at the Grand
Convocation Chamber of the
Galactic Senate. Palpatine uses
both his lightsaber and Sith
lightning to attack Yoda, who
is ultimately forced to retreat.
Although Yoda fails to
destroy the Emperor, his
survival ensures that
he will live to train at
least one more student
in the ways of
the Force.
The Clone Wars
CHOKEHOLD
When Padmg arrives on Mustafar, Darth Vader
answers to the name Ana kin, but his evasive,
defia nt behavior con vinces Pad me that he is
Anaktn no more. Upon seeing Obi-Wan emerge
from Padmtf's starship, Vader suspects betrayal
and uses the Force to choke his wife
Duel on Mustafar
Vader releases Padm£fromhb telekinetic
deathgrip to engage Obi-Wan in a fierce
duel. The combatants are so focused on
each other's movements that neither
notices th* intrepid R2-D2 hauling Padmtf's
unconscious form back to her starship.
The battle takes Vader and Obi-Wan through
the main collection plant of the old lava
mine, across platforms that stretch over
riverbeds of molten rock. As every step
becomes more perilous and Vader H s attacks
more ferocious. Obi-Wan realizes that he
still cares for Ana kin, and that the only way
he can defeat his opponent is to let go of his
feelings for his former friend. When Obi-
Wan releases this emotional attachment, the
battle turns for the Jedi,
DARK LORD REBORN
S EEKING DARTH VADER, Obi-Wan goes to Padm£ J s apartment on
Coruscant. Although Padm£ has been told that Kenobi may have been
implicated in a Jedi rebellion, she is greatly relieved to see her old friend alive.
But her joy turns to confusion when she realizes that Obi - Wan is searching
for her husband, Anakin, She refuses to believe Kenobi's claim that the young
Jedi murdered children at the Temple, and is unable to accept that the father
of her unborn offspring could be capable of such an unforgivable, evil act.
Shocked and upset, Padm£ tells Kenobi to leave; shortly afterward, she travels
with C-3PO to the planet Mustafar, She is unaware, however, that Obi-Wan
has anticipated this move and is a stowaway on her starship. And so it is on
Mustafar that Pad me discovers the grim truth about the man she loves, while
Obi-Wan finds the hate-filled monster he must try to destroy.
A PROPHECY FULFILLED?
By slaying the Separatist leaders and crushing
the Jedi Order, Vader believes he has restored
peace and justice to the galaxy and so brought
balance to the Force. In his eyes, he has
fulfilled his destiny as the Chosen One.
He will not stray from this viewpoint until the
last day of his life, when he finally realizes that
there is a power stronger than the dark side.
BURNING RAGE
Despite his fighting skills, Vader is defeated by
Obi-Wan. With both legs and an arm severed,
Vader lies helpless as red-hot lava bums his
flesh and sears his lungs. But even as Vader
writhes in agony, he believes his actions were
justified and considers himself superior to the
jedi, Fueled by anger and hatred, Vader never
relinquishes his embrace of the dark side.
19 B,B.Y.
nri
v
ntJisittrhfiru r fa the fiwf, the
fmr fUa fa Mwktfor k Uh dime Intapi.
haves w /rA PikimJ und the droids
r Emperor arm-et and hunt** Voders
dtrift#, dismembered remain*.
CtmvenlHUHil mrxtry is insufficient to Sfae Wider,
to an ifhrikkitu f DD-13 sur^h-ai timid Ji enlisted fa
cflwwrf robotic pmsiknUs and in.mll Ufftttppvrt
system/or the Sith Land's wvapedbodv.
REBUILDING VADER
Vader's lifesaving transformation
is a complicated procedure that
incorporates advanced technology
with arcane Sith healing techniques.
Vader's new body consists
primarily of machine components,
and his cloak conceals a backpack
that cycles air in and out of
his damaged lungs. After his
recovery, Vader constructs
a new, red-btaded Sith
lighlsaber to replace the
weapon he Lost on Mustafar
POLISMASSA
Obi-Wan takes the injured Padm4 to a
medical facility on the isolated asteroid
Pol is Massa, where he meets with Yoda
and Senator Bail Organa. A medical droid
assists with the emergency deliver)' of
Padmd's twins, a boy and a girl whom she
names Luke and Leia. Tragically, Padmtf
does not survive.
EVIL RECONSTRUCTED
The Emperor's apprentice is laken to a Surgical
Reconstruction Center on Coruscant. It takes
days for the Emperor's medical droids to
connect Vader’s severed nerve endings to new
robotic parts. The Sith Lord eventually awakens
to find himself contained within an armored
life-support suit. Until his dying day. Vader will
be a living, walking vessel of darkness.
MORE MACHINE THAN MAN
After Darth Vader is resurrected as a cyborg, he asks far PadmiL and is told
by Ihe Emperor that he killed her in anger. Unaware of his Master's deceit,
Vader is filled with fury, not because of his imagined role in Padmd's death,
but because he feels cheated by her loss. In his incredible selfishness,
Vader is completely consumed by the dark side of Ihe Force, and his
humanity becomes almost entirely irretrievable.
After N( r # death. Yf*tb
suiiyeM* fter twins should be
tpfti up fa prevent the Sith fnmt
findtHif them tow/r, Bait Qrjana
adopt* is tu and takes her to
Aide man (far teflt, white Ob*
lli«i delivers Luke fa Ok nJ anti
Hern jLfn, wtsmgw fa raise
aim on T<ittwtttf fnear left}.
*
THE DARK TIMES
W IT! I UNPRECEDENTED SUPPORT from the Senate and
the Jedi Order all but exterminated, the Sith at long last
accomplished their revenge. But with worlds still waiting to
be conquered, and his power yet to be consolidated, Emperor
Palpatine relied heavily on his apprentice Darth Vader, and
opened the previously restricted Deep Core region of the galaxy
for exploration. To illustrate the enormous difference between his
new Galactic Empire and the long-stagnant Republic, Palpatine
programmed construction droids to tear down large portions of
Coruscant r s ancient Presidential Palace and had it reconstructed
into his Imperial Palace. By the time most beings realized that the
Republic's fire had been extinguished, the Empire's shadow had
fallen over thousands of inhabited worlds.
The Dark Times
l
At ftilpatlne's instruction. fnniimx ofthe
ancient presidential Mace tw Coruscatti
are fnm dmvn. The rtov Imperial Ai/rtir
has ftpen nw.i large enough to house a
Victory 't'Jtaji Jjur Destmyer. and it h hi^hrr
than any Other structure on Coru\ranl
EMPIRE OF EVIL
A S THE REPUBLIC is reorganized into the Galactic Empire, there are many who
are grateful to Emperor Palpatine for ending decades of corruption in the Senate,
and who believe that he will fulfill his vow to restore stability to the galaxy. Even as
his opponents continue to vanish, few comprehend that the Emperor's New Order is
based on tyranny, brutality, and hatred of nonhumans. Aliens are not only persecuted
but enslaved to serve the Empire. Funds are diverted from social programs into a
massive military buildup. By the time the Imperial subjects realize that they are kept in
a state of constant fear in order to maintain "stability/' Palpatine has
the full support of his awesome Imperial Navy as well as the crime
syndicate Black Sun, and has eliminated most of his adversaries.
t
The Emperor
Acting without any legal political or financial
restraints. Emperor Palpatine develops the
largest military force in galactic history'.
Supervision of the Imperial Navy is later
assigned to the Muffs—Imperial military
commanders—and Palpatine thoroughly
dedicates himself to the study of the dark
side of the Force. As he strives to discover
the secrets of eternal life, he also begins
experimenting with cloning technology.
Protected at all times by his red
crush my oppouthm in
fiuom eiivimtiments
Trained to Fe ctmM fi i tf
enemy territory, tcoui
inHiptrs are tenmed
to survive hmg periods
without supervision
or support.
Selectedfrom the best
cotnht.il troopers, ft
single AT.AT pilut
drives the walker while
cl Jrt'rwhf pifat acts or
mi vigator and gunner.
AT-AT WALKER
A mobile garrison bunker, the
All Terrain Armored Transport (AT-
AT) walker stands over 15-meters
(49 feet) high and is fitted with heavy
cannons and short-range blasters.
IMPERIAL FORCES
Just as the clone troops serv ed the
Republic without question during
the many conflicts of the Clone
Wars, Imperial stormtroopers
(left) are totally loyal to the
Empire and cannot be bribed,
seduced, or blackmailed into
betraying the Emperor. Clad in
white armor that is impervious
to projectile weapons and blast
shrapnel, they are the spearhead
of PaIpatine's ground forces.
SPEEDER BIKE
Designed for high-speed infiltration,
the repulsorlift speeder bike is used
for scouting enemy territory and
reconnaissance. It can reach speeds
of up to 500 kph (311 mph).
66
67
The Dakk Times
19- 0 B.B.Y.
THE DEATH STAR
C ONCEIVED AS a moon-sized "expeditionary battle planetoid/' the
Empire's terrifying Death Star is one of the largest starships ever built.
Measuring 120 kilometers (75 miles) in diameter, the spherical battle station's
crew, officers, and support and maintenance personnel exceed a million beings,
not including a security force of more than 25,000 stormtroopers and a support
"crew" of more than 400,000 droids. Weaponry includes 10,000 turbo lasers and
heavy turbolasers, 2,500 laser cannons, 2,500 ion cannons, and 768 long-range
tractor beams. Powered by an immense fusion reactor, the Death Star is
capable of traveling through hyperspace, and its primary offensive
weapon provides enough firepower to decimate an entire planet.
Grand Moff Tarkin
The master mind behind the Death Star's construction is Grand
Moff Wilhuff Tarkin, the former Lieutenant Governor of Eriadu,
and the first Imperial leader to achieve the highest rank of Grand
Moff, Tarkin believes that humans are superior to aliens, and
that the most efficient way to cripple enemies is to destroy
their hope. The Death Star exemplifies the Tarkin Doctrine:
"Rule through fear of force rather than by force itself,"
DESTROYER OF WORLDS
The Death Star's primary weapon Ua planet -
shattering superlaser. The superlaser is formed by
eight combined beams, which are fired in alternate
sequence to create a huge blast of encTgy with
more firepower than half of the Imperial fleet.
AftcT firing, the superlaser requires a recharge
period of 2*1 standard hours before it can be fired
again, so Death Star gunners arc trained to hit
their target on the first shot.
Stationed at rtmtrnh in the nyhl stparvitr brant i hafts, (nrws
of gunner i adjust and monitor the fwlses of each Mffgy
beam that feeds into the cenirath ftmtsed .wperlstser
DEATH STAR OFFICERS
With the Imperial Senate under Palpa tine's
control the military becomes the true
government of the Empire. The Imperial
Navy's key directive is to combat space piracy
and transport military personnel, while the Imperial
Army is charged with maintaining planetary order
and removing threats to the Empire. Pa I patine eventually
ov erhauls and integrates the forces of the Army and Navy,
which creates rivalries between such powerful individuals as
General Taggeand Admiral Motti,
(itnrrul Tuggc fi a senior
Imperial Army tactician.
AdmJml Mult) is in rharxe
of Death Star operations
Crural Moff Tarkin n the
Death Star's comnutitder.
TURBOLASER DEFENSES
The Death Star's surface is defended by deadly
-jurMascr towers, which fire sustained, organized
volleys. The turbolasers' poor recharge rate and
slow rotation speed creates gaps in the station's
defensive screen, but Imperial engineers are
confident that the Death Star's state-of-the-art
weapons systems can defeat any threat.
in addition to autonuited weaptsn systems, manned
laser uMjni art sued to repel starfinhter assaults.
IMPERIAL ENGINEER
The Death Star's chief engineer is Bevel
Lemelisk, who previously helped the
Geonosians produce their attack craft and
also designed the Death Star's prototype,
the first weapon ever to wield a superlaser.
Despite his reputation, Lemelisk is
hardly a perfectionist, but because of his
connections to other high-ranking Imperial
officials, few challenge his expertise.
When it is eventually discovered thal the
Death Star has a major design flaw, the
Emperor will hold Lemelisk responsible.
To safeguard his seem
drii/fii plan* front
computer tlnrt rs, Betel
Lemelisk tnifialfy drr*
his prototype designs
on muabiedumsheet
scrolls The blueprints
nemld fade itw and
disappear tf^wr a
short period.
70
71
0 tULY.
The Civil War
Hittf OnusHu Mpi Orpvtii*
irusitimv to ftttputtmr'f rate
LEIA’S MISSION
U NDER PAL RATINE'S REIGN, the Senate slowly dissolves, hut
one brave youn^ Senator—Princess Leia Organa of Alderaan—
dares to criticize the Emperor's policies. Using information she
gains as a Senator and her diplomatic immunity, Leia secretly
assists her father. Bail Organa, to expand the underground Rebel
Alliance. While on a mercy mission to the planet Ralltiir, Leia learns
the Empire is constructing an immense superweapon. After Rebel
agents secure the plans for the weapon and transmit them to Leia,
she travels to Tatooine to summon the help of Obi-Wan Kenobi.
Blockade Runner
E quipped with a very fast sublight drive
and au efficient hyperspace jump calculator,
Corel lian Corvettes such as Princess Lein's
consular ship, Tantive IV, art' the choice vessel
for evading Imperial ships, loading some
Imperials to refer to them as '"Rebel blockade
runners." Although Tfrn/mr IV has lived up to
its reputation on many occasions, the ship fails
to outrun the Star Destroyer Devastator over
Tatooine and is drawn into its hangar
DARK ENCOUNTER
On her first visit to
Coruscant, Leia attends a
reception at the Imperial
Palace and meets the
Emperor and Da rth Vader
Despite their powers, the
Silh Lords do not sense
anything unusual about
Leia, who is unaware of her
true heritage. Disturbed by
the encounter, Leia becomes
a Senator, determined to
fight for fairness and justice.
ENTER THE DARK LORD
After Ifytirhr IV is secured,
Darth Vader boards die ship to
search for the stolen LVatJy Star
plans. As he orbits the world
that was once his humfe.
lofuj^uppressod memories
fill him with silent rage,
SECRI I MESSAGE
Realizing shOtjinuol escape, Leia
dodder tncrttriisl the Death Star plans
to K2»D2< dietalu ig a message to Obi-
Wan Kenobi tha< llu- astromoeh records
Moments later, Leia is captured by
uopm, who fail in notice K2-D2
trading for an «^ pc pod.
KYLE KATARN
A special agent for the
Alliance, Kyle Katam
infill rates a top-secret
Imperial complex on the
planet Danuta to steal technical
readouts for the Death Star, then
transmits the plans to Princess
Leia'sship. In the years that
follow, Katam wins many battles
against the Empire, and discovers
that he Is Force-sensitive.
] EWEL OF THE GALAXY
With its dear blue skies and snow-topped mountains, Princess Leia's home world of Alderaan is renowned
throughout ihe galaxy for its natural beauty. Ruled by the democratic Viceroy and First Chairman Bail Organa,
the planet has been a Lung-established centerpoint in galactic politics, exploration, and culture for
many millennia. Alderaanian exploration vessels plied many of the most important trade routes in
the galaxy Colonists from Alderaan also traveled far and wide, settling many scattered worlds.
The planet has no weapons or military force, but this was not always the caw.
REBEL PRINCESS
The youngest member of the Imperial
Senate, Princess Leia Organa uses
alt her resources to help the
Rebel Alliance. She has
trained in the political
arts and military
discipline, and is
an expert shot
with a blaster.
LEIA'S DENIAL
After sto rmtr oopera deliver her to Vader, l,oia
denies any knowledge of the transmissions beamed
to her ship by Rebel spies, and insists she was on a
diplomatic mission to Alderaan. Vader orders her
to be taken away He I hen instructs an aide to send
a distress signal from Tantiw /V, in order to dupe
the Senate into believing the crew were killed by
unknown forces instead of Imperial troops.
ESCAPE TO TATOOINE
C-3PO, also serving aboard li-ia's ship, reluctantly
follows R2-D2 into an escape pod. Together they
jettison from the captured 73?nJiw IV. Efccausc the
Devastator's scanners do not detect lift 1 -forms wilhin
the pod, il is assumed its ejection was triggered by a
short circuit. But when Da rth Vader learns that the
Death Star plans an* no longeron board Ieia's ship,
he sends troops to search for the pod on Tatooine.
The Civil War
0 B.B.Y.
LUKE’S DESTINY
SON OF SKYWALKEK
I ,i ke his father before
him, Luke dreams of
adventures that will
take him far from his
desert homeworld.
JAWA TRADERS
Natives of Tfltooinc, la was are rodent I ike
creatures who live and travel in
clans. These mechanically-inclined
scavengers can transform the M
most rusted piece of scrap in In
something useful, as evidenced
by their conversion of abandoned H
ore-hauler vehicles into
sand crawlers. However, ^
colonists are cautious of
pun h.sstng rt■ rurhisi ) ed
technology from fa was,
who do not always build
items to last JtM
W HILE OBI-WAN SECRETLY monitors
young Luke Sky walker, Owen and Bern
Lars raise the boy as if he was their own son,
a son who might take over the farm someday.
But with each passing year, Luke becomes
increasingly restless and eager for adventure.
On one occasion, Luke and his childhood
l \ friend Windy ride into the Jundland Wastes
\ and get lost in a canyon. Fortunately, they
I are found by Obi-Wan, now using the
i 1 name "Ben,
While repairing a moisture vapomtor,
fjjkr Jijfftri hri/[ht m the xi fcy,
the view through hia matnihinncuhm
confirmi hr is wimenting the roof of 'hue hr Station. isike Irlh his friends
tixer. Vtimtr. )ectile rifle and uses his macrobinoculars to scan
the surrounding canyon for Sand People—also known
as Tusken Raiders. Moments later, Luke and 03PG are
ambushed by a group of Tuskens.
THE WIZARD EMERGES
Discreetly monitoring Luke's
journey into the jundland
Wastes, Ben Kenobi uses
his powers to rescue an
unconscious Luke from
the Tusken Raiders.
When Luke informs Ben
that R2-D2 is searching
for Obi-Wan Kenobi, Ben
reveals his true identity.
tfumavritiiiiUtiR th* Mbit *. by the $urnl f^opbt, C Anchurhead, Luke's
parly encounters ihe wreck of
the sandcrawler owned by the
|awas that sold R2-D2 and C-3PO
to Owen I juts. The vehicle is
surrounded by dead Jawas, and
although il appears the Sand
People carried out the attack, Ben
observes evidence that Imperial
stormtroopers are responsible.
Realizing the Empire is hunting the
lI mids. and fearing for his uncle
and aunt's safety, Luke races home
RETURN TO DUTY
Inside Ben's house, R2-D2 fulfills his mission hy delivering
Princess Lcia's holographic message to General Obi-Wan
Kenobi. The recording explains that R2-D2 is earrying
information vital to the Rebellion, and pleads for Kenobi
to deliver Ihe astromech to Leia's father, Bail Organa, on
Alderaan. Ben knows he must act immediately and appeals
to Luke for help. Because Luke feels more obligated to his
unde, he agrees only to Lake Ben as far as Anchorhead.
VICTIMS OF TH E EM PIRE
Luke returns to the Lar* homestead too late to
save Owen and Bern. Seeing the smoldering
remains of hisaunl and unde, his compliance
to the Empire comes to an *md—replaced by a
strong resolve to do everything he can to help
the Rebels. After rejoining Ben and the droids,
Luke volunteers to help Betii reach Alderaan, and
declares that hi' wants to become a Jedi, like his
father before him.
AN AKIN'S LIGHTS ABER
"Your father wanted you to have this," Ben tells Luke as
he gives him Analdn'g lighlsaher. In fad, Vader remains
unaware of Luke's existence, but Ben thinks it best to
protect Luke from the truth about his father.
KRAYT DRAGONS
In scare away the Tusken Raiders that attack Luke,
Ben emulates the terrifying sound of a krayt dragon.
Large carnivorous reptiles that live in Tatooine's
mountainous areas and cases, krayt dragons have
daws that can shred through dura steel, and are
among the most fearsome creatures in the Outer
Rim Krayt dragon gizzards contain beautiful pearls,
and because Ihe dragons are so difficult lo kill, a
single pearl is worth a small fortune Young 5and
People hum krayt dragons in an initiation rite to
prove themselves as warriors,
53 ^
I
i A remote dwelling abandoned by m
a frontier moisture farmer, knj
i house is a simple hut homely abode.
In his cellar workshop, he constructs
lank al hems that he exchan
for gen sis from Jaw a traders
Passage to Aldbraan
IMPERIAL ROAD BLOCK
Upon entering Mos Eisley, Luke is
stopped by stormtTDopers. To Luke's
amazement Ben u$e the Force to
convince them that 03PO and R2-D2
an* not the druids thoyVe looking for.
PASSAGE TO ALDERAAN
A FTER CREMATING THE remains of the murdered Jawas, Luke, Ben, and the
droids spend the night at Destine, They then proceed to Mos Fisley Spaceport,
where they hope to find a pilot who will take them to Alderaan. Because Tatooine is so
far from Imperial activity, Mos E is ley is a haven for smugglers, including the Corelli an
mercenary Han Solo, He agrees to deliver the group to Alderaan, but when Solo
realizes an Imperial armada is trying to apprehend his passengers, he wonders if he
should have negotiated a higher advance. While the Millennium Falcon travels through
hyperspace to the Alderaan system, Ben instructs Luke how to use the Force to guide
his lightsaber. When the ship drops out of hyperspace, her hull is hammered by rocky
debris, and Solo realizes that Alderaan has been blown away.
Scum and Villainy
Inside the Mos Eislcy Cantina, Ben meets Chtfwbaeca, the
Woo Idee copilot of Man Solo's stars hip. Before Chevvbacca can
introduce Ben to his partner, Luke is accosted by two criminals.
Dr. Eviizan and Fonda Baba* Ben steps in and attempts to resolve
the situation peacefully, but w hen the villains draw their blisters,
he ignites his lighlsaber and moves fast, disabling both all Ackers
and leaving Fonda Baba minus one arm.
HIRING HAN SOLO
The captain of the Miflcwnijiiji Fakou. Han Solo
openly boasts that his ship can outrun Imperial
vessels. Luke bristle# during the negotiations
for Solo's fee to transport Ihem lo Alderaan, not
knowing that Solo is as desperate for money as
they are to leave Tatooine. On a recent smuggling
run. Solo dumped a spice shipment before
Imperials boarded his ship. Although ho g
.1 voided jrrest, he now owes fabba the j£m
I lull for I he 3osl spice.
CANTINA BAND
The Modal Node# an? a popular
quintet oi Hith musicians.
Their lead player, Figrin
D'an, Isa master of the kloo
horn and an expert gambler.
After arriving on Talooine, they
were hired by fabba tin* Htltt,
but incurred his wrath by
accepting an offer to perform
.11 the ill-fated wedding nf his
nemesis, the Wliiphid crime lord,
Lady Vila nan. Fortunately, l hey
escaped the debacle, and found
work at the Mos EisleV cantina.
0 n.n.v.
DISGRUN11 Lll HLTT
After Greedo's demise,
I abba. Boha Felt, and several
henchmen sumnund Solo's
vessel. The 11 m It agrees, lo
wait for the owed money plus
an additional percentage,
hut threatens lo reinstate the
bounty If Solo fails to deliver.
GRFEDO'S END
While Chewbaec.i prepares the ship tor launch, Solo
funds himself at fhe wrong end of Greodo's blaster in
the cantina. According loGreedo, Jabhzi has placed a
bounty on Solo'-, head, which he hopes l
Failing to notice Solo drawing his own
blaster, a fatal blaster bolt puts
paid to I he Rod inn's plans.
Jr
Imperial
after
"THAT'S NO MOUNT'
Ben s premonition Is home
auLivhen Ihe ship emerge*
hypemp.ice, only to find the
of tile destroyed Aldeffem
^iter. Soto guides
approaches what
Ihey draw
straight
the starship b cjplurisi by a
FAST ESCAPE
Follow'mg Solo's
pha true Lions, Luke, Ben,
and the dn>ids find
the Millrnmmn Ftlh'an
in Docking Ray 94-
Unfortunately, the
wanted droids am
sighted by ■r Saha trli, tirvend hoanli hunltn w iiutmv Urtigat.
Hniik, am! n im irti^rfid Shnrr — nvtmiyr hi capturr Mi. C /irw. /jim i u. ,tnd Lair in ihr
fit tit] nihjn, hut faith1 dtMinrr thr UtXiimi m f ihr wh Hr hr I hatr
,f I ’ruw atT thill hii nitk-unttoh lrf\ hiivr tf/mnA
metu ik ffA Darth Vin/cr iwt Ord
The Mr fifty tiifipr, fm frit 'r
/ Aflrr linn Strip iivi n priird energy c rysfat tafiril Voder y plan far an atlinn avutuft m
ll/iin 4, o*i Imperial armada *■ unable to pmrni thr Mr hr I fleet ’f fW flKlrf fll fr» the third
planet in the Hath system. The AlHatwr'i wrw jlndpufen a mimed tichn Htisr
Drjpitr Ijikr J kirk ttf formal training
in hxhtwhrr rttrnhni. hr is assisted and
rnuhtnl hy thr spirit af Hen KrnaHi
In drfnti lhath Voder. Thr
Jjjfli Iiwj Act ftjfiiJ arm
ami topple* into a deep,
i ramhlitix writ, hut I Mir r that\
and leia ha lr hrrn ntptuml Wider'* limited humifdg#
4 midala j death precludes rut Hal mspifunri.i lhal Ijukr 4 his
An engine mulfmilion in Ij-in i
Y- wing tames her and hike la
land on Mlmbar i
WO YFtARS AFTER the Battle of Yavin, Luke
Skywalker escorts Princess Leia across
the galaxy, heading for the planet Circarpous
I V, where a meeting has been arranged with
potential funders for the Rebel Alliance,
Before they can reach their destination,
they are forced to crash-land with R2-D2
and C-3P0 on Circa rpous V, a swamp
planet more commonly known as
Mimban. There they discover a ||
secret Imperial mining facility
and meet I lalla, an old woman who claims to be
Force-sensitive, Haifa possesses a small splinter of the
legendary Kaiburr crystal, which greatly magnifies
one's perception of the Force. She recruits Luke
and Leia to help her find the Kaiburr crystal
before it falls into Imperial hands.
World or Danger
In addition to tho threat of the Imperial presence,
Leia and Luke's initial efforts to escape from
Mimban are fraught with unexpected dangers at
nearly every turn. They are attacked hy monstrous
wand id las, amoebic cave creatures, and native
Coway warriors before they locate the temple that
holds the Kaiburr crystal, where they face their
darkest nemesis—Darth Wider
Disjtatsrd ax mmrrx, ijiif and lj-ia rnirra Mwithin tairm. Shortly
titirr mrrtmit Italia, thn art ctijuurrd hy Imperial yiurminiopefL- a
The Civil Wak
BATTLE OF HOTH
A FTER FAILING TO ship the Rebel evacuation from the
base on Yavin 4, Darth Vader decides upon a new course
v 35j!£ v of ac ti on. Tm peri a 1 p robe d ro i d s a re dep Joyed th rou ghou t even
sector of the galaxy, each seeking the location of the Rebels'
new secret headquarters. When Vader learns a probe droid has
/I \ | sighted a snow-base power generator on an ice planet in the
1 ^ J 1 loth system, he is immediately certain he has found the Rebels,
I . ’ Vader directs his massive flagship, the Lvendor, and a fleet of
itni*ruii pnti* ihvuh mr ft vc Star Destroyers to travel at lights peed to the Hath system.
" ,f,h ' 1 riitilrd ' rnmrs lt * wtfrh However, the Executor's com mand ing offker. Admiral Ozze \,
for any xign if MrM attn-rtv . . .. .
brings the vessels out ot hyperspace too soon, delivering the
ships too close to the Hoth system. His mistake alerts the Rebels to the Imperial threat
in time for them to raise a planetary energy field over their base. After Vader disposes
of Ozzel, the Dark Lord orders that the battle will he waged on the planet's surface.
-- TAUNTAUNPATROL
^ “WT 7 Lift in scare* o a J loth, hut the Rebels have managed to
^ ' 4 - tome tltt. 1 hardy native taunt.runs Ivir u*4e as Irani ports,
After several fearsome wampa matures infiltrate their
B£v -Kiw% the Rein 1 Is realize their neairity measures are
- lacfclflg. Working separately; Han and Lttke
^ pLue additional sensors .1 round the
™ ^ w Kw jvnrneler to anticipate
JL uVi 7 " A »\ and distinguish any
t S potent Lai invader*.
TH E ICR CREATURE'S CAVE
sfflK While planting sensors for the Alliance
H _ warn in# network, Luke is Attacked and knocked t
f unconscious by a ivampi. He awakens in find
himscl f suspended upside-down in a cn ve, w i I h
'mm his feet embedded in the ceiling and his lightsaher
B half-buried m the snow below. Fortunately, Luke
^ has learned to use the Force to min e objects, and
manage* lo recover and activate his weapon, wounding
I he wampa before it can make a meal of him.
After f .Kxtpinf; ihe huAi^ii,
lake j.i rifi i-r to drtol 1
H'/wvi he irr r vpntml
firn/tf iff Ohf Him Keittdn.
n h( 1 inxlTurtx Aim lo go lo
thr tiiitoiviti ryilrm anti
learn from Yada,
3 A.ILY.
AT-AT h itlkj-n. At ST i Aii Terram St ool Irtmtftorrti
Juggernauts form the iftrarhetid tf
ReM pilot itahhie Ktiv tan eiprrxsrx dtmbi over lAc nwwMfPQ pit in,
i>ul ihe Rehrt tmn\fnut\ tut1 rxxfttih eiutfe (He fttifvnol omuidu
Imperial Assault
With the Imperial fleet in orbit, the Rebels at Echo
Base (so-named because of the huge, echoing
caves in which il was built) fire their powerful
ion cannon at the Star Destroyers. This creates an
escape corridor for their fleeing transports, but
Rebel snowspooders are less effective al slopping
the huge Imperial AT-AT (All-Terrain Armoured
Transport) walkers that attack the base from
ground level, Luke Skywalker single-handedly
brings down an AT* AT after his snow speeder is
shot down, but the Rebels suffer many casualties,
and the day belongs to the Empire.
HOTH PREDATORS
Covered wilh white fur and averaging over
two meters (ft.5 feet) in height, wampa ice
creatures are carnivores predator* indigenous
to I loth. Their long arms end in sharp claws
I hat are strong enough to carve Lairs on I
of the fce. Warn pas rarely kill their prey
outright or hunt when they are
hungry. Instead, they stun their
prey, haul the stilLbrealhing
victims hack to their caves,
and secure them in ice for later
BACTATANK
Suffering from frostbite and many
wounds after his encounter with
the wampa, Luke is submerged in a
bacta-filled tank in the medical unit
on Echo Base. A synthetic chemical,
hdct.i is a healing agent formed from .1
combi nation of ml ala/hi and kavam
bacterial particles mixed with thv
cnlorlpsH liquid am bon This mixture
mimics Ihe body's own vital fluids
and promotes quick, scar-free
tissue growth.
4Kk ^
Alltiififr Mtrf Qalifftre Ytinlx' InMljnm.* Iff slap
ffH/et tOfimuminm. nr upon.\, rHrtlattf mppftry tnkrpx, mut
vehicle 1 kf till < timrn of thr galaxy Sr Mem united, thru- ihipi
rth *Ht iTatfiithter tsCarii jdf pftrtn tion
THE DARK LORD ON HOTII
Vader arrives un the ice planet
fust as the Mittammm Falcon
escapes from Echo Base 1 , hut as
Han Solo's ship ascends from
Hoth, Vader directs his fleet to
pursue theCorellian freighter,
Remembering his conversation
with boba Fell on Ord Man lei 1,
the Dark Lord decides to
capture Solo and use him as
bait to trap his Force- powerful
friend, Luke Sky walker.
89
The Civil War
3 a,b.y*
THE CAVE
Beneath on enormous jpuirURe
an Dajjfobith, there is a cove that
is strong with tin? dark side of
the Force. The cave i?, possibly a
vestige of power from a dork Jedi
who kindest on Dagobah during
the Clone Wans. After venturing
into thLs cave, Luke has a vision
thji anticipates the truth about
his relationship with Darth Vadvr.
htilte ntt¥, i-ttke cmfwn to Hu uu**# fujtfrf mi jy. t hslemhin^ kin anger. I ufrr PuU the duel suiftly Voder** mim'd ftrtBurt m Lute t eu^i wwyjc
Start/y upw ctmh-liUiding on fXtjfd'wk. f_u.Hr mid H2-D~
difftnlxtri, the ptrttally submerged X-unng to explore
thnr murky sutnfintdfiigs, The hrygy Wrhi it *ki\ud of
r/rjfizwtlipfi kj't iit/tahfcii hy million* if Ufe-formi. These
frwhtde tmtsfve drstgomfuiu^ ihot lurk undenmier. ime
of iiMjjjfii ttnrhf mokes o meal of R2 D2
MUD HOUSE
Lake and R2 D2 follow the creature back to
his home, a dome^haped hut built at the
bottom of a huge gnarltree, The hut's entry
is large enough for Luke to crawl through
but too small for R2-D2, who remains
outside, Inside* Luke barely polices the
inner structure,, which includes salvaged
items from a Republic-era spacecraft.
ALIEN ECOSYSTEM
One of the most bizarre organisms on Da gob ah is the knobby
white spider, In fact, the spider is a mobile root that is part of
thegnarttree's lifecycle, This root breaks free
of its parent tree to roam the swamps
and devour animals. After gathering
enough nutrients, the spider finds a
dear spot to anchor its legs, which
eventually transform into roots
that allow the spider to grow into
a towering gnarllree.
The cm (f the
otminmMai
knobby white
spider s body
in made
primarily of
calcified
wood
THE LASTJEDI MASTER?
YixLVs powers have helped him survive
but* at 900 years old* he cannot escape old
age. tf he fails to train Luke* the legacy of
the Jedi could die with him.
* 0
YODA REVEALED
Inside the hut* an impatient Luke is
startled to hear Ben Kenobi's voice
address the creature, whom Luke
suddenly realizes is Yoda.
RIGOROUS EXERCISE
With HOU years of experience
training Jedi, Vida pushes l-like
to his physical and mental limits.
Luke proves to be a lalenud
student and learns greater
control of his powers, but as
his training did not begin
in infancy, he
it difficulty to
contain his
emotions.
BOUNTY' HUNTER ON DAGOBAH
After Luke and Yoda realize they are being
monitored by a mysterious humanoid on
Dagobah, the latter instructs Luke to stop the
intruder. Luke races through the swamp until
he finds himself his quarry: a druid bounty
hunter named Milko, Thedmid threatens to kill
Luke, but then surrenders his weapon and begs
for mercy Luke decides to threaten rather than
destroy Milko, then allows him to leave in the
scout ship that transported him to Dagobah. As
the droid departs, Luke has a feeling that their
encounter was a test arranged by Yoda, but is
uncertain whether he passed or failed.
Stilt learning the twiys if the
Force, JLidr tf more HL m !y to
reach for frtj blaster dun
- ins iighiwber to deal
lertii a tfrrrwl.
FAILING TO BELIEVE
When Luke s X-wing suddenly sinks into the swamp,
Yoda suggests that the Force could be used to remove the
startighter. Ikvausc I iikcJois not believe it is possible, he
tails to raise the ship, Yoda transfers die ship to dry ground
with case, and gain* even more respect from Ins pupiL
URGENT DEPARTURE
Unwilling to dismiss a frightening vision of Han and Leii in pain,
Luke decides he must interrupt his Jodi training and attempt to rescue
his friends. Despite the protests of both Yoda and the spirit of Obi-Wan,
who suspect a trap, he leaves Dagobah hut promises that he will return
Following his vision, he heads for the Tkspin system.
C OMPELLED BY HIS vision of Den Kenobi on Noth, Luke Sky walker travels
with R2-D2 to the Dagobah system to seek out Kenobi's own instructor, the
Jedi Master Yoda. Having learned from Ben that Darth Vader helped the Empire
hunt down and destroy the Jedi Knights, Luke knows that Yoda — like Ben—
went into hiding to escape execution. As he approaches Dagobah, Sky walker
is surprised to find that the planet has no cities or any evidence of technology.
As he descends, Luke loses control of his X-wing in the dense atmosphere and
is forced to make an emergency landing. Arriving on the mist-shrouded swamp
world, Luke realizes how desperate Yoda must have been to survive. He has no
idea what the Jedi Master looks like, but imagines him to be a great warrior.
Friend or Foe?
While setting up a temporary camp, the
sudden, unexpected appearance of & small
creature causes Luke to draw his blaster.
The young Rebel quickly decides that the
odd, green-skinned being poses no threat,
but becomes annoyed when the creature
starts rummaging through his provisions.
When Luke mentions that he is looking for a
Jedi Master, the creature's eyes brighten, and
he offers to take Sky walker to Yoda,
i
A JEDI IN TRAINING
The Civil War
3 A.B.Y.
i
NO DISINTEGRATIONS
THE BOUNTY HUNTERS' GUILD
The oldest and largest of the galaxy's hunter
fraternities, the Bounty Hunters' Guild was for many
years headed by Bossk's father. Cradossk, Several
months after the Battle of Yavin, Baba Fett petitioned
for Guild membership, which pleased Cradosskbut
angered Bossk, Unknown to the Guild. Prince Xizor
had schemed to create a mercenary force of freelance
hunters, contracting Boba Fett to join the Guild
and destroy it from within, Fett's efforts worked,
for Bossk devoured his own father, and the Guild
divided into two warring factions.
H AVING FAILED IN his attempt to capture Luke Sky walker during
the assault on Hoth, Darth Vader remains obsessed with finding
the young Rebel, When the Imperial fleet notifies the Dark Lord that
the Millennium Falcon is still in the Hoth system, Vader realizes that
Han Solo's ship is disabled* The Imperial fleet attempts to stop Solo's
ship, but Han loses his pursuers in an asteroid field. Vader receives
a communication from the Emperor, and suggests to his master that
Luke would be a powerful ally if he could be turned to the dark side*
Determined to capture Luke's friends, and aware that Skywalker will
sense their suffering through the Force, Vader summons Boba Fett
and several other bounty hunters to the Executor, Because of Fett's
reputation for disintegrating his targets, the Dark Lord warns them
that he wants Solo and his companions alive.
INTO THE ASTEROID FIELD
Han Solo, Leia, Chewbacca, and C-3PO evade the Impcriii)
blockade at Hoth, hut are unable to escape into hyperspace
because the Falcon'* hypetdrive is damaged. Rather than
surrender. Solo steers the ship into an asteroid field.
JAWS OF THE SFACE SLUG
While the Imperials scan the
asteroid field for his ship, Han
finds temporary shelter for the
vessel within a deep cave on a
large asteroid. The Fal cuff's crew
attempt to repair their hyperdrive,
but when they discover that the
"cave" is actually the innards of
an enormous space slug, they are
forced to flee, barely escaping the
creature's dosing jaws.
4'LOM. a thiesinx
protocol do,at,
Aim patted up with
Zuckuss to iri
farther as a team
Zuchuw is tin ammonal-
hrrothtlsx Gaitd jirktimatt.
Mr emptays special
rehgiom ritmh to
locate Ail yiatrry.
BttMk. Mr Mini
Trutulfisinms, hares
Woakiees Mr in tends to
ohtatn Chewbacca's pelt,
dt if site Wider'* orders.
Dengur o a farmer
swoop jockey. Barwrd
from wtng. hr became
to bounty hunting.
BOBA FETT
By the time of the hunt for Han Solo. Jango Fett's unmodified clone
has reached the age of 35 standard years and is at the peak of his
bounty hunting abilities. Boba Fett has made many modifications to
jangn's starship, Steve I, and added many dev ices to his own armor,
including anti-security blades to bypass most door-locking systems.
After repeatedly denying that she feu feeUn$i
for him . ijrto responds to Han 't dru rrle tut
join him so that they can overthrow Palpalme
and role the galaxy as father and son.
CONSTRUCTIVE PRISONER
After being captured bv the Imperial*,
Chewbacca is baffled as to how G-SPO"#
parts have arrived in his cell. Despite the
tack of tools, the Wookiee is able ten reattach
the druid's head to hi* torso,
THANK THE MAKER?
When C-3FO's shattered parts .ire presented to Darth
Vader, he instantly recognizes the droid he built as a
child. He orders the 1 parts to be 1 destroyed, but after
capturing the Rebels, he learns that the dmid's piece*
have been recovered by Solo's copilot. The Dark Lord
uncharacteristically rescinds his previous order, and
h.is CAPO's remains delivered to the Wookice's cell.
When Lando leom* Hitter intemh to attw
Hntw Fra to deHwr Hm to Joh hi rAr Him,
he mttizrx hti dent with the Cmptrr wit not
msurr the safety of Cttmd City's aitzens
DESPERATE ESCAPE
Refusing to surrender, a wounded Luke tumbles through a
network of gas exhaust pipes before he is ejected through
a port beneath Cloud City, As heelings to a weather sensor
vane, he uses the Force to summon Leia. Although Lola,
Chewbacca, the droids, and lheir new ally Lando manage to
rescue Luke and flee the Bespin system, they are unable to
stop Boba Fett from leaving Cloud City with Han,
FREEZING SOLO
Carton-freeze chambers are
used to suspend exotic gases
within blocks of carbon ile for
export from Cloud City, Darth
Vader plans to utilize this
technology to capture Luke
Sky walker* hut decides to test it
on Han Solo to see if a human
can survive the freezing process.
Han lives, and a disillusioned
Lando decides it is time to slop
helping the Empire,
UNCERTAIN FUTURE
The Mitkiwiitm Falcon travels to the
farthest reaches of the galaxy, where the
Rebels regroup with the Alliance fleet.
Luke is transferred to a medical frigate,
where he receives a synthetic hand to
replace 1 the one he lost in combat, While
Chewbacca and l ando depart in the
falcon to investigate Boba Lett's progress
to Tttooine, Lcia decides not to confide
in Luke about her love for Han, and
Luke tells mi one of Vader s claim.
Tut: Civil War
3 A,R,Y,
DASH RENDAR
A freelance pilot and pun for hire. Dash
Render delivered food to the Rebels at
Echo Base, and bravely commandeered
a snovvspeeder to take down an AT-AT
during the Baltic of Hoth, After aiding
Luke Sky walker and the Bothnn
_ A spynel to capture the plans for
\ ( V the second Death Star, Dash's
pc iki Outrider vanishes in the
"i.*\ explosion that claims Xizor's
skyhook. But months later,
XV Rendar turns up in a cantina
\ \ on H u rd J s moon, w here he
V\ meets the reformed Gun,
SHADOWS OF THE EMPIRE
C ONTROLLER OF THL largest merchant fleet in the galnxy, the Falleen
Prince Xizor — the secret leader of the Black Sun organization—has proven
useful to the Emperor for coordinating clandestine shipping assignments.
While meeting on Coruscant, Xizor witnesses the Emperor's holographic
communication with Darth Vader, and discovers Vader's relationship to Luke
Sky walker. Ten years earlier, Vader exterminated 200,000 Falleen to contain a
lethal bioagent that had been accidentally released by Imperial scientists on
Xizor's homework! Seeing an opportunity for vengeance, Xizor plans to ruin
Vader H s standing with the Emperor by framing him for the assassination of
Pa Ipa tine's would-be prize, Luke Sky walker. Meanwhile, Boba Fett is tracked by
Rebels and rivals as he tries to deliver Han Solo to Jabba the Mutt.
TRACKING BO SB A FETT
Captain of the Outrider starship (above right),
the smuggler Dash Rendar discovers the
location of Felt's Slave i and guides the Rebels
to an Imperial enclave on the planet Gall.
The Biack Sun Contract
F ollowing Pprlh Voder’s failed mission to
Cloud City, the Emperor orders him to work
with Prince Xizor to coordinate the shipment
of construction materials for the second Death
Star, Because Xizor's ties to Black Sun are
well known, Vader strongly advises against
dealing with him, but the Emperor dismisses
the Dark Lord's protests.
GURI
A human replica dmid
programmed to be
an assassin, Curi was
created to serve Xizor,
who trained her t<
be lus second-I iv
command. When
Gun is left
without a rtfiiKler.
she seeks mil a
droid engineer to
restructure iter
programming
and erase her
bad memories,
which
enable*
her to
begin a
tuw lif
A NEW LIGHTS A BE H
In Ben Kenobi's abandoned home on
Tatooinc, Luke finds a book wilh Instruction*
for building a lights.iber. Unlike the one he
Itvsl on Cloud City, Iris new lighfsabcr It)!Sews
the design of IHen's weapon, the assembly
b barely completed when Luke uses the
Itghtefiber to defend himself against Jabh.Ts
swoop gang, who have been deceived hy
Xizor into believing Vader wants Luke dead.
. -•
--
UNDERCOVER ASSIGNMENT
Unaware of Xizor's plotting, Leia
arranges a meeting with Black Sun
to find out who is trying to kill
Luke. To main lain secrecy, Chewie
and Leia disguise themselves as
the bounty hunters Snoova
and Bnushh.
XIZOR'S LAST STAND
After the Rebels discover Xizor 's role in the
plot to kill Ijuke, Xizor retreats to his
luxury skyhook, the Follem's Fist,
a satellite tethered In a low
Coruscant orbit. Xizor is
ultimately unable to
escape the wrath of
Darth Vader, who
has learned nf the
Falleen '5 treachery
and directs the
Executor lo
obliterate the
skyhook and
everyone
on board
,3 DELIVERING THE GOODS
£|0 Ln mute to Tatooinc. Boba
k I etI realizes that delivering
I tan Solo to 1 abba the Hull
may be trickier than he had
anticipated. Lett's carbonitivfrozen
acquisj|ion has made him the target
of not only the Rebel Alliance but
every competitive bounty hunter in
the galaxy (above). Leaving a trail
of frustrated Rebels at Gall and
dead hunters and mercenaries
in his wake, Boba Felt
eventually presents Han Solo
to Jahha the Hutt (left), who
is so delighted by the idea of
adding Solo to his art collection
t I Hat he even agrees l o Letts
T' X demand for a higher fee.
The Civil Wah
PRISONERS OF JABBA THE HUTT
(AHHA S PALACE
A sand rock fortress with outer walk
specially reinforced with ultra-strong
dftantum, I abba the Hurt's ]\iLirs remain in awe of
]abba s lighting skills.
uke mm t fatten Jabba u tin
unabashed mevjitama/lhlt'
who Uvea to canimt others
and be renter of attention
3 A.B.Y*
BOUSHH'S BOUNTY
Chew bare a insists on participating in
Han s rescue, but knows that Jabba would
« ' k.
set* through any disguise he might use
iv ¥
to infiltrate tire palace. To gain entry,
jTTl «
he allows himself to be manacled and
escorted by Leta, who reprises her role as
L* 1
Bnushh to collect the bounty on Chewie,
Vr
BRIEF REUNION
While Jabba and his court are sleeping,
Leia liberates Han from theearbonite
block, Temporarily blinded by hibernation
sickness. Solo is barely reunited with the
Princess when they are discovered. Han is
thrown into the same cell as Chcwbacca,
while Jabba adds Lets to his slave harem.
A hinbtUiy gift m Jabba from fab Fbtfuna, the fearsome
rumor iso semisentitm beast vlVWj dwells in a pti
hr low the crime bird's conn.
ENTER THE JEDI
Carrying no weapons, Luke bypasses Jabba's
security sensors and uses the Force to subdue
the guards, but when he confronts the Hu it.
he teams that Jabba is immune to Jedi mind
trick*. However, Jabba realizes that Luke
poses st threat, and attempts to feed him to
his pet rancor. After it tail* to make a meal of
Luke, the 1 tut I decides to introduce his Rebel
captives to a larger creature—the Sartacc,
Il'AjVC Jfthhti wulthri from ftu fa run Vhrithon
mtl barge. KheiBnn*. a sand skiff positions hike
Stywitker afcnv the Surface * pit,
THE GREAT PIT OF CAKKOON
Perched at the end of a plank that
extends from the sand skiff, Luke
gaz«t down into the maw of the
enof rf tof offinivoroiif
harlacc^ho Qvesl>dow
Tatooine's surface
deep sand holecaEled
the oi .Quitoup^
As he steps off the plank."
Luke backtlips .md catches his
lighlsaber, which R2-D2 shoots into ■.
the air, A tierce battle ensues, as the *
captive Rebels tight for their lives
THE HUTTS LAST GASP
Chained to Jabba and forced to wear a revealing slave-girl
costume that precludes the possibility of concealing any
weapons, Iu?ia has little hope of escape. But when Jabba
becomes distracted by the spectacular battle outside his sail
barge, the Princess seizes the chance to toss the chain around
her captor's thick neck and strangle him.
Jabba 1 mil I home H hiwtW by a series
of exptmiim* as take and bis allies male
their escape. Most of the Hint's entourage
perish, btiI Sib tbrtuna miltM
emergency getawny fa a small i*ttnd craft
BOBA FETT LIVES!
Accompanying Jabba to the Groat
Pit of Carkoon, Boba Fett attacks the
Rebels as they try to escape. A lucky
shot from a blind Han Soto ignites
Fett's jetpack, sending the mercenary
tumbling into the waiting mouth of the
Sartacc. After several agonizing days,
Fett blasts his way out of the creature
and is rescued by his fellow bounty
hunter, Dengar.
i
99
The Civil War
3 A.R.Y,
THERE IS ANOTHER
S INCE HIS ENCOUNTER with Darth Vader at Cloud City, Luke Sky walker
has told no-one of the Dark Lord's claim to be his father. Uncertain of
whether Vader was lying, he remains even more disturbed by the fact that
Vader's claim is entirely inconsistent with Ben Kenobi's account of the death
of Anakin Skywalker. After liberating Han from Jabba's dutches, Luke returns
to Dagobah to fulfill his promise to Yoda and complete his training. He is also
determined to learn the truth about his heritage, and hopes the old Jedi Master
can provide the answers. In the meantime, the Rebel Alliance has regrouped
to discuss how to destroy the Empire's most fearsome new weapon-the
second Death Star. Top-secret design and construction-schedule information,
previously obtained by a team of Bothan spies who were assisted by Luke
and D;ish Rendar, are analyzed and a plan is formulated. But the Rebels are
unaware that their every move has been manipulated by Palpatine himself.
VGDA'S TWILIGHT
After many centimes, age has finally caught up
with the Jedi Master Yoda He tells Luke that his
training is complete, but that he will not become
a Jedi until he confronts Darth Vader. Before he
expires, Yoda reveals that Vader is indeed Luke's
father, and that "there is another Skywalker ."
4 mi'rfnju on the halfetwnpieted Heath Slur. Wider It greeted h\ Moff
Jtfjtftod, the hunk yfaUon f f/mmtvuiing fairer,
DEATH STAR II
Unlike its smaller predecessor, the new Death Star is
more an elaborate trap than a secret weapon. Despite
the Alliance's faith in the Buthans, Ihe only reason
they know about the Imperial activity at Endor is
because Emperor Palpatine released the information
to lure the entire Rebel fleet to its doom. As the
Rebels prepare to disable the shield generator, they
are unaware that the Death Star's weapon systems—
including its superlaser—are fully operational.
Ben's Revelation
Feeling uncertain of himself after Ytida's
passing, Luke is surprised to be visited yet
again by the spirit of Obi-Wan. Because
Ben believes that Anakin Skywalker was
effectively destroyed when he became
Darth Vader, he maintains that he was being
truthful — from a certain point of view—when
he told Luke that Vader killed his father.
Although Luke believes there is still good in
Vader, Ben is convinced that he is completely
evil. However, he echoes Yoda's words that Luke
must face Vader again, Asked to explain Yoda's
mention of "another Skywalker," Ben reveals
the existence of Luke's twin sister, and Luke
instantly realizes that his sibling must he Leia.
ftmrrrn# above the font jtj jwhm j surfm e. the Empire %
ptmetary i hield generator ernttrs it ptrwerfuJforce field
tin fund the orbital Death Star
REBEL LEADERS
A founder of the Alliance to Restore the Republic-
the official title of the Rebel Alliance—Mon
Mothma f right) is now its Cornmandcr-m-ChieL
At theSullust system, Mon Mothma, Admiral
Ackbar, and General Crix Madinemeet with
allies to disclose the information gathered by the
BoLhans. According to the intelligence, a new
Death Star is being constructed in the Endor
system, but its weapon systems are not yet
operal ion at, More importantly, the Emperor
himself is overseeing the final construction.
Using this information, the Rebels plan to attack
and destroy the Empire's unfinished battle station.
SPEEDER BIKE CHASE
On Endor, Luke and Leia are hunted by
Imperial scout troopers. The Rebels defeat
their pursuers in a high-speed chase on
speeder bikes, but become separated in
the moon's dense forest.
White being Mulled by uvml tmaprtt. Lftfj meets Wicket 1 Warrick, a
ytmuii EwoL The Ewtda art angered by thr Imperialpresence. and after
W< ket irttnxfKcs^ JLtia frt the Ewtdt elders, the Hebeflton gfitm nen tithe %
JEDI TWINS
Reunited with Leia at the Ewok
village, Luke declares thal he is
endangering (heir mission because
Vader can sense his presence. He then
reveals that Darth Vader is his father,
and also Leia's, When Luke states
his intentions to confront Vader, Leia
tries to persuade him to run away
instead- But because Luke believes
he can save his father from the dark
side, he leaves to find the Sith Lord.
Admiral ,1 1 kbor (center lefil and Mtm Mothma (center right)
ttddm\ ti Rebel assemble tn a Indagrapha ampi theater cm
Ackbar'i flagship, the Man Catomari ember Home One,
100
101
BATTLE OF END OR
T^ECIDING TO CONFRONT Vader face-to-face, Luke Sky walker surrenders
L/to Imperial soldiers on Endor and is brought before his father Because
this reunion was anticipated by the Emperor, who has also foreseen that his
Sith apprentice will deliver Luke to him, Vader realizes his own destiny is
simply to be a pawn in his Master's schemes. Faced with his Master's apparent
omniscience, Vader abandons his ambition to overthrow Palpatine and rule the
galaxy side-by-side with his son, and Luke notices that his father is less bold
than he was at their last meeting on Cloud City, Sensing Vader's conflict, Luke's
- instincts tell him that Anakin Sky walker has not
been completely consumed by evil — but the Dark
Lord maintains that "it's too late for me, son*./'
REBEL COMMANDOS
Han, Leia, and Chewbacca lead a team
of commandos through the Endor forest,
heading for the Empire's shield generator.
Thanks to help from the Ewoks, they
destroy the shield generator, enabling the
Rebel Alliance's fleet to direct a full-scale
attack on the Death Star.
Woodland Adversaries
Imperial stormtroopers have advanced weapons
and are trained to fight in diverse environments, so
they are not initially intimidated by the Ewoks or
the forest moon's terrain* But as the Battle of Endor
progresses, the storm troopers realize they have grossly
underestimated the diminutive race, who have allied
themselves with the Rebels to defeat their common foe.
Ewok warriors take every advantage of their natural
surroundings to surprise, misdirect, trip, snare, and
crush the white-armored soldiers.
DEATH STAR ASSAULT
Newly promoted to the rank of General, Lando
Calrissian pilots the Mif/rrimiow Falcon through the
Death Star's superstructure. For his copilot, Lando
chooses his longtime Sullustan friend Nicn Nunb
Heft). A legend on his home world for his exploits as a
pro-Rebellion space pirate, IN unb's enhanced sense of
direction makes him an excellent pilot ami navigator
FATEFUL DUEL
Brought before the Emperor, Luke
refuses to join the Sith Lords. Goaded
by Palpatine, Luke engages Vader in
a brutal duel. When Vader is injured,
the Emperor commands Luke to kill
his father — but the Jedi refuses.
IV/mvi I.ukt lhin{#ht\ brtruK Lrttt '•
e,listener. hr ttnlrmhrs his fury tm
Voder as the Shh jTjt nrt thrratens to
tri-fuil his sister to fttr tturk side
ATTACK OF THE SITH
Angered by Luke's
imwillingness to follow his
father's path, the Emperor
releases a storm of Sith
lightning on the Jedi. But
in failing to foresee Luke's
defiance, the Emperor
reveals that his own powers
are fallible, and a wounded
Vader realises Palpatine van
be destroyed.
3 A.B.Y.
A DESTINY FULFILLED
The moment that Darth Vader realizes
he cannot allow Palpatine to kill his son,
he becomes Anakin Skywalker once
more. Fulfilling the prophecy that he
will bring balance to the Force, Anakin
seizes the Emperor. Mortally wounded
by Sith lightning, the Chosen One hurls
Darth Sidious down an elevator shaft,
and the Emperor explodes in a violent
release of dark energy.
VADER UNMASKED
As Luke escapes the Death Star, Anakin asks
Luke to remove his mask so he can look at his
son with his own eyes before he dies. Despite
the atrocities he committed as Vader, Anakin
is comforted by his son's determination to
recover the good that remained in him.
INTERSTELLAR CELEBRATION
News of the Emperor's death and the
Rebel victory at Endur spreads fast
throughout the galaxy via the HoioNet,
and many worlds respond with
celebrations. On Curoscant, fireworks
fill the sky as Palpatine's statue is
toppled by a jubilant population.
UNITED IN SPIRIT
While the Rebels celebrate with the
Ewoks on Endor, Luke is momentarily
distracted by the apparitions of
Yoda, Ben, and a man he instinctively
recognizes as a younger Anakin
Skywalker. Luke rejoins the party,
and the Jedi spirits- fade away
into the night.
THE EMPEROR'S HAND
After Luke escaped Vader at Cloud City,
Palpatine secretly ordered Mara fade,
his personal aide, to assassinate Luke.
Infiltrating Jabba's palace just before
Luke arrived, events transpired to
thwart her plan, fade is on Coruscant
when Palpatine dies, but she hears
his last command: "You will kill
Luke Skvwalker,''
V * 5
A NEW ERA
T l If: DEATH OF Palpatinc and the destruction
of the Death Star were devastating blows to
the Empire,, but the battle was not over for Luke
Skywalker and his allies. Some Imperials went
into hiding or became warlords, but the most
dangerous remained loyal to the Emperor long
after Ids apparent demise* After Luke learned
that PaIpatine's consciousness had survived
beyond the Battle of Endor, he had to conquer his
own temptation toward the dark side to defeat
his most sinister foe. As Luke encountered rjew
adversaries, he also discovered other Force 1 *—
sensitive beings* He came to believe thatthe Jedi
Order might thrive once more, not as it was, but
in an adapted form to suit the needs of the New
Republic* Assuming the mantle of a Jedi Master,
he now trains his disciples to use the Force lo
help the helpless and aid the government, which
has become the Galactic Federation of the Free
Alliances. The Jedi Knights continue to serve as a
beacon of hope throughout the galaxy.
A New Era
W ITHIN DAYS OF Us victory at the Battle of
Endor, the Rebel Alliance officially becomes
the Alliance of Free Planets. A few weeks later, Mon
Mothma formally issues the Declaration of a New
Republic, which is signed by Mon Mothma, Leia
Organa, Borsfc Feylya of Kothlis, Admiral Ackbar,
and representatives of Corellia, Kashyyyk, Sullust,
and Elorru The eight signatories form the New
Republic Provisional Council, and work together to
win over hundreds of planets through diplomacy.
Two and a half years later, the New Republic
launches a series of attacks to capture the city planet
Coruscant, and the Empire's political and military
power becomes fragmented across the galaxy.
Grand Admiral Thrawn, a high-ranking officer in
Pa l pa tine's Imperial Navy, refuses to recognize
the New- Republic* Reorganizing the
remnants of the Imperial fleet, Thrawn
launches a campaign of terror to
reclaim the galaxy for the Empire.
CORUSCANT RECLAIMED
On Coniscant, the former
Imperial Palate becomes the
seat of government far the
New Republic. Princess
Leia Organa Solo believes
that the new headquarters
will serve tt an affirmation
of the New Republic's
ideals and a final victory
over the Empire.
POLITICAL INFIGHTING
As the New Republic establishes itself, the abilities of its leadership are
questioned by the Botkin Councillor Borsk Feylya (above right). Han Solo
rightly suspects that Feylya is motivated by his own political ambitions.
To dtftnd thenutbtt, jf tfffim.tr fone-
tffl tltftv rflnnin, Gmrwi Admiral Thrawn
tmd hi t la i til iffflierr foptatit Pelfaeon
i arm Fare enrpelting ysutamiri erratum,
which arr native to the planet Myrkr.
Grand Admiral Thrawn
Despite the Empire's anti-alien policies, a Chiss named
Mitth'naw'nuruodo demonstrated such impressive
tactical skills that the Emperor approved his formal
Imperial military training. Milth'ravv'nurucxio
became known by the shortened name of Thrawn, J
and eventually achieved the rank of Grand
Admiral. Shortly before the Battle of Noth, a
successful collaboration with Darth Vader led to
Thrawn Wing rewarded with the authority to
call upon the services of the Dark Lord s private
assassins, the Noghri death commandos.
THE ROGUE AND THE PRINCESS
Four years after the Battle of End or. a
jealous Han Solo kidnaps Princess Leia
when she receives a marriage proposal
from Prince bolder of the powerful
Hapes Consortium. Drawn closer
during the events that ensue, Lei.i and
Han return to Coruscant and marry.
THE NEW REPUBLIC
\
106
4-9 a,b,y.
JORLfUS C'BAOTH
Five years after Pal pa line's death,
seeks the Emperor's hidden Storehouse
of vecret technology on the planet
Way land. Thrawn and Captain Pellaeoci
are at lacked by the self-pftxlaimod Jedl
Mastt^r JoruusC'booth, but are protected
by Force-repelling ysatamiri Thrawn
offers to abduct and deliver two Jedi
apprentices—Luke and Leia—in
return for C haoth's assistance
and access to the storehouse'
The cltmr of u decerned Jrdl MtfVrr.
Jorum ("hooth hui crewedby
Polfkitotr to guard Imftrfiut Inraxurr
unit ti tiioitny facility on IVtf e land.
€ 'booth luffrn from t tone
madmrxx, the rexaii of
being ifn il i'M tort
tfuu lh. and slips into
periods ofetmfusum
and insanity.
NOGHRI WARRIORS
Natives of the planet Jfnnoghr, (he deadly
Noghri were nearly annihilated by a series
of ecological disasters until the arrival
of Darth Vader Claiming that a crashed
Republic starship was responsible for
Honoghr's ravaged state, Vader offered
aid to the surviving Noghri, who were
so grateful thal they became his private
assassins. Decades later. Princess Leia's
encounter with a Noghri leads her to
Honoghr, where she discovers that Vader
deceived the Noghri in order to transform
them into his most loyal militia.
JADE AND KARRDF.
Jn the foundling New Republic,
PaIpatine's former assassin
Mara Jade has to use false
Identities to survive Under the
alias Cel ina M a miss, she saves
the life of the smuggling chief
Talon Ramie, who repays her
with a job. Based on Myrkr,
KamJe initially helps Thrawn,
but ultimately becomes an ally
of the New Republic.
booth tirbewel empiox x Jed* bottle meditation to
direct tinfiernd forces at Stub liwi Shipyards l left i
STRIKING THE SLUIS SECTOR
In a scheme to steal starships and expand
the dwindling Imperial fleet, Thrawn
orchestrates a simultaneous assault on
three planets in the Sluis Sector, then stages
a surprise attack at Sluis Van Shipyards.
Beaten by I Ian Solo and Lando Calrissian,
Thrawn flees without any additional ships.
tin {'am* cant I sin Organa Vr do jif net birth to
nWnt-Hi girl and a boy. Minti untt Jocen—who wit!
jmn tf new generation of Jedt Knights.
THE DEATH OF THRAWN
While C'baoth attempts to use an evil
clone of Luke In draw J.ufce and Leia to
the dark side, Thrawn prepares a trap
for the New' Republic at (he shipyards on
Bilbringi. Fortunately, Mara Jade slays
Luke's clone and C'baoth, while Thrawn's
Noghri bodyguard—determined to
avenge his people's betrayal by the
Empire—fatally stabs his master.
107
A New Ena
10—11 A.B.Y.
EMPIRE REBORN
MEW WAR DROIDS
Palpa line's return is accompanied by new
technology to wage war a gainst the New Republic.
These weapons include Shadow Drotds—space-
faring fighters built around the hard-wired brains
of fallen Imperial nee pilots—undYM Vipur
" Automations/' war droids that absorl} energy
from enemy lasers to power their own weapons, i
DARK JEDI?
When Luke Sky walker finds
Palpatine on Byss, he stays and
surrenders to him while Han and
Lein escape. Luke allows Lei a
to believe that he has joined the
dark side. Determined to rescue
her brother, Leia returns to Bvss
and discovers he is attempting
to destroy Pal pa line and his
clones, l uke and Leia combine
their powers, bul fail to prevent
Palpatine from escaping,
T HE NEW REPUBLIC'S restoration of Coruscant inspires many to
believe that the Imperial threat has been greatly reduced.
But six years after the Emperor's death, an
invigora ted Imperial m i I i ta rv d ri ves the
hull id line. - 1 '■ i " ei 1111 1 111 '■■■ Ic.idri-. ill I n liul ng ’ 5
Sensi ng a dark power behind the attacks, Luke
Skywalker travels to Byss, an Imperial stronghold * |
near the center of the galaxy. On Ryss, Luke %
discovers that Palpatine has risen from the dead to
restore his Empire. Although Palpatine has recruited dark-side
adepts, he intends to take a Jedi as his new apprentice. When Luke
and Leia resist, Palpatine sets his sights on Leia's unborn child.
BOUNTY HUNTER TEAM
As the galactic struggle
continues, the bounty
hunters Dengar and Boba
Fctt at temp I to ca pture H.m j
and Leia and collect on a V _
hounty offered by the I lulK L. ^
When lho bounty hunters’ -sB*"
mission fails miserably, ■ rJ '
Dengar proclaims he will
never work with Let t agai n,
PALPATINE RETURNS
Following the destruction of the second Death Star,
Palpatine's consciousness spent over a year drifting across
space. On reaching Byss, he awakened and recuperated in
the body of a clone, one of many kepi in reserve. Because
the dons can only contain his evil fora limited time,
Palpatine strives to lake possession of a strong jedi body.
^ftAST YOUG (Iff 6^
ON M4JV Goto, yJrJ
^ boy?
World Devastators
The Emperor attacks the
New Republic with his World
Devasta tors—mach i nes designed WKLl
to s Lri p p Id nets of ihei r nd 1 11 id I
uv.qx mis [ I ■ 11 ■ I n.kl u .ii 0 ir drams
mu L up I hunks o\ plant'Lin
which converts the metals,
carbons, and rare elements
inlo useful materials. Palpatine unleashes the World
Devastators on Mon Calamari, bul Luke Skywalker
obtains a coded signal that allows R2-D2 to reprogram
the Imperial super weapons to turn against each other.
ANAKIN SOLO
After I he Emperor's Galaxy Gun weapon
destroys I he New Republic base on Pinnacle
Moon, its leaders and their families flee to
Nespis V1IL where Ijeia gives birth to her
third child, a son. Although her husband
suggests the boy should be named Han Solo,
jr., [jcl.i insists lhaE his name is Ana kin.
NEW FACE OF EVIL
Resurrected in a youthful clone
body, Palpatine does not reveal
him sel f i mined ia tely. St udytng
the dark side of Ihe Force to
become more powerful, his
education results in three
manifestos: The Book of
Anger, The Weakness
Captured m Bya fry Imperial form. Lent
Muitiri it Jrtii HiAocnm <n m # f fry fll/fWfrflr
ihr ext iipe. i, fout take i thr fiohnnm
lit leant fmm it a timekeeper. a hotogftiphic
.umuhteruttt of Jedi Mtixtrr Bodn Bata A
LOST JEDI
On Nar Shaddaa, Leia finds
Vima-Da-Bnda, a former
Jedi who is the 2Otkyear-
old direct descendant of j
Mom i Sunrider. Vima has J
been in self-imposed 4
exile since taking m
v L’ll^e.ltU <’ Oil her I, I H, II
daughler's kiLU-r,
lull le.n w nh ihe
fodl
PAL RATINE'S END
|$Vhen Pa I pa line's latest done body begins lo
deteriorate nit an accelerated rate, he consults with
Sith spirils who advise him to transplant his psyche
Into Anakin Solo. Palpatine tracks the Solos to the
jb)an escaped thr
Purge, Aftrr foot ft rescued fry Utke
from Nejixh Vitl, Korn metis I rut.
A New Era
THE YUUZHAN VONG
T\venly-five years after the Hattie of Yavin, the New Republic
is confronted by the Yuuzhan Vong, deadly aliens who
worship merciless gods. The Ytaizhan Vong are refugees
fmm a destroyed home planet, and they use massive
bioengineered spacecraft to locate and conquer new worlds.
Their starships rely heavily on dovin brads, spherical
organisms that can project a gravity well to pull the ships
through space. The Yuuzhan Vong use one of their dovin
basal creatures to wrench the Dobido moon out of orbits
pulling it down onto the planet Sempidal (left). Eschewing
manufactured technology, Yu urban Vong warriors attack
close-range targets with flesh-shredding razor
bugs (below right). In perhaps their
greatest demonstration of power,
the Yuuzhan Vong conquer
Coruscant, rename it
Yuuzhan'tar, and attempt
to terraform the world,
MARRIAGE OE MARA AND LUKE
In 19 A.B.Y., Mara Jade and Luke
Sky walker marry, because Mara was
once Luke's enemy, many regard
their union as symbolic of a bright
future for the New Republic.
THE NEW JEDI ORDER
A HS LUKE'S EXPLOITS introduce him to more Eoree^ensitivc beings, he
I decides to train them in the ways of the Force to buenm* Jodi Knighh
Instead of attempting to recreate the former Jedi Order, T uke develops new
teaching methods to encourage greater independence among his students, who
are expected lo maintain unity and defend the worlds of the New Republic,
Alter consulting with his sister, I via, l.uke chooses the abandoned Rebel base
on Yavin 4 for the site of his Jedi Academy. One of his shidenK, Kvp L Huron,
falls under the spell of the spirit of the long -dead Park lord, Exar Kuti, but
finally prevails and becomes a Jedi Knight, Kyp is among the firsnedi to
encounter the most devastating threat to the New Republic — the Yuuz.han VJ
| edi Academy
}■ Irvrn \ iMi • alter flic EUtHr u| Yavin, Luke returns to Yavirr4 U> found
his HHixnim, a place of learniin; for prospective jedi Knights 1 I is students
i rn 1 1 i lc 1 Ik 1 In r mi t Strccri, I ho brash Kyp Purran, tilt? Sutif-doubtmg
^ K -I n■ I Ji u -,k N2,. nd Kirana I ■ cl Dathomir Allhough Luke draws from
In ■. iri'drih. tmn w ah YoJa and know ledge of the Jedi Order, he does
ii.trt.
t he tw# i hat*nix arr;ve in Help
Kyp Durron and Honk JiZ, who
have em f'unlefifd o n\untfnta\
imullmn shut \rerm In thrive
off t He spirits of its victf/rn
tjitr iAir«h i Hri t tmfitif nrr
in thr (in' Jedi Knights by
nthm'in# thrm to uu kir thr
nsstfftvnrni wttlif He fftmtim
on Ufvjfl 4 (n i uper\'fie his trainees.
11-29 A.B.Y,
HAN AND LEIA'S CHILDREN
ike I heir mother and uncle, the Solo children
are strong with the Force. Nearly two years into
the war against the Yuuzhan Vong, the Jidi twins
lacen (above left) and Jaina Solo (above right)
are 18, and their younger brother Anakin
(above center) is in his Ihth year. When I hey
participate in a mission to eliminate I he
Yuuzhan Vong cloning labs that grow the
fedi-hunting voxyn, Anakin sacrifices
himself to help destroy the voxyn.
Anakin r s death prompts Jaina to be
temporarily drawn to the dark side,
and leaves Jacen to question
the path of a Jedi.
THE DEATH OF CHEWBACCA
When Han Solo and Chewbacca fly the AMmuiwm Falcon
to the Outer Rim planet Sempidal, they have no idea that
the Yuuzhan Vong intend to use a gravity weapon to crash
Sempidal's moon into the planet's surface. Chewbacca
loads refugees onto the Falcon as fast as he can, but
is unable to return to the ship before Anakin Solo
executes an emergency launch. Moments later,
Chewbacca dies in a planet-shattering explosion. ^
111
r
F ROM CONCErT SKETCHES and set design to visual effects and
the final edit, George Lucas has been Involved in every aspect of
production on the St nr Wars movies, overseeing all of the key creative
decisions. "Normally, a director is concerned mainly with character and
with Idling the Story* In the Star IVflrs films, that is important, but equally
important! are all the details. They're like little time bombs all over the
set, thousands of them, and if you don't catch one, it could do you in."
I ocas is widely credited with reinventing the way in which visual effects
are used in cinema, not merely to create illusions but to serve the story.
"I took something that was not very well regarded, a kind of esoteric,
technical-cult enthusiasm, and recognized it for the art it is and gave it a
BEHIND THE SCENES
Behind the Scenes
SELECTED FILMOGRAPHY
All films dirrclfd try Ocnjr Lucas
unless otherwise noted
1%8
1971
1973
1577
1979
—i—
TOO
Look at Uft
Fmhtit
Herbie
THXmSiEB
Anyone lived in a
pretty {hew} tmen
The E mp e r or
6 18.67
filmmaker
THX 113*
American Gmfftii
Star Ware Episode IV
A New Hope
Munr American Graffiti
(executive producer)
8tar Ware Epiwdc V
The Empire Strikes Back
(executive producer, story)
Haulers of the Lnrf Ark
(co-executive products,
co-story)
Slar Wars Episode Vl
Rrturtt ii ftltefedt
(rxKutlvc producer,
eencreenw rilct idtoryj
(’(iformf fanes ami
tlfe Temple of IJuum
{004XKUtiw producer, tturyl
Wtfteip
(executive producer, store)
Indiana fanes and
the l#$I Crusade {ctvtwccuiive
producer, ro-story)
Riidialaitd Murdm
(executive producer, story)
Sf it Ware. ppivHje I
Tfa Flwtftoin Menace
Sjut Ware. Episode U
Attack of the Clones
Slur Ware: Episode III
Rftomj^r of theSiih
114
GEORGE LUCAS
Aft Qiuirne jjffrer concept
poimirtx depicted the droids
on Taffwiiinr At hi* audition for
C 3PO, actor Anthony fkinieti
kw. reluctant to ptny a robot
until he .wm this paint inf; ami
felt empathy foe the character*
Union o 16mm camera, the young
Lin its made filmmaker. a t/taking
of doeumenturv about Fmnct* Ford
Copptda '§ The Ram People i IQfiX}
Vi
B orn in modesto, California, in vm t George Lucas
is the creator of Star Wars and a pioneer in independent
filmmaking. As a child, he often read adventure novels and
watched the Flash Gordon serials. At some point, he "began to
wonder what would happen if [the visual effects) were done
really well. Surely, kids would love them even more/' To create
his Star Wars saga, Lucas studied history and mythology,
and drew from aspects of films he admired, notably Akira
Kurosowa's The Hidden Fortress , He also founded the company
Industrial Light & Magic (ILM) to create the movies' visual
effects. One of the most successful film series ever made,
Star Wars transformed the entertainment industry.
Learning From Experience
Before Star Wars, Lucas wrote an d
directed two very different films;
THX 1138, a bleak tale set in the
far future, and American Graffiti,
an affectionate story about
California teenagers set in 1962,
Audiences avoided THX J13S, but
Docked to the movie theaters to see
American Graffiti, something Lucas
would remember while he was
working on the script for the first
Star Wars film: "I realized it works
a lot better to make a positive,
spiritually uplifting film."
DIFFICULT SHOOT
Lucas directs Mark Hajnill and Anthony
Daniels (C~3P0) on location in Tunisia for
Star IVare in 1976. To bring his vision to the
screen, Lucas had to deal with harsh weather,
malfunctioning effects, a temperamental crew,
and anxious studio executives.
In the mudrl ihup at Industrial lught A Magic, Lucca itwpcrt* the ikeletal
Death Star featured in Return nf the JcdJ f JMljL By the early tWOx. HJ4
had become the wortd'i leading muii effects ctmptmy.
RALPH MCQUARRtl-
According to George Lucas, Shir Ware "might never
have been made rJ without concept artist Ralph McQuarrie,
In 1975, Lucas commissioned McQuarrie to design
characters and create a series of paintings I hat ultimately
convinced 20th Century Fox to help "green light"' the movie
George Lucas
LUCAS'S ALTER EGO
In developing Luke Sky walker
(right, played by Mark Hamill),
Lucas not only took inspiration
from mythological heroes but
from "two opposites in myself
—a naive, innocent idealism and
a view of the world that Is cynical,
more pessimistic,"
in Fpmwlr tit. Revenue nf (Sr Skh
120(1 $Jl Ijtcax mike i a hnef cameo
appearmre tu fhtnm ItyHinotiin
After the uwMWfrfe auccess of the first inlays
(Episode* fV Vi l LuttCi framed on «eir
pnrjeetx for aevrraf vdin. In the (Wth.
he pnned forces eHlh producer Rni
^ McCollum 1 abuse left I to make it itch
prequel hi togs to ttunfdcle thr
ni-epnuMie suyu.
Behind the Scenes
THE STAR WARS SAGA
THE THREE DIRECTORS
The laborious, all-consuming experience of making; the first
Star Wars movie compelled Lucas (center) to hire the veteran
director Irvin Kershner (left) to direct Tin' Dnpirr Slrfifcrs Barit
and Richard M.irquand (right) to direct Return of the feJi.
‘Hie three directors wen- brought together when Kershner
visited Lucas and Manquand during the filming of /rdf.
EPISODE VI; RETURN OF THE J EDI (1983)
fedi was co*flcrlpted by Gmrge Lucas and Lawrence
Kasdan, who also rewrote the Empire script after
the death of screenwriter Leigh Brackett, fail was
a much tougher movie to pull off/' Kasdan viid in a
2000 interview, "because everything has to w-ork out so
hunky-dory/' Actor Mark Hamiil (Lulu.' Sky walker) recalls,
' We really had the sense |that] It was the end, that they
wen* going to tie up all of the loose ends/'
G EORGE LUCAS BEGAN writing the script for Star Wfirs in 1972.
He wrote several drafts of screenplays until he was happy with the
story, which began after significant events had already shaped principal
characters. To better comprehend these prior events, Lucas also wrote
an extensive back-story. In a 1979 interview, he recalled that the overall
story had "developed into an epic on the scale of lAfar and Pence, so big
1 couldn't possibly make it into a movie. So l cut it in half, but it was
still too big, so 1 cut each half into three parts. I then had material for six
movies." The saga, originally the adventures of Luke Sky walker, finally
evolved into the story of Darth Vader,
EPISODE IV: A NEW HOPE (1977)
In Lucas's original script, Obi-Wan Kentibi (Alee Guinness)
Survived his duel with Darth Vader. ^reproduction was
already underway when Lucas decided to kill Obi-Wan,
whose death dramatically increased the threat of both Vader
and the Death Star. Guinness helped redevelop his character
and worked with Lucas an the idea of having Kentrbi become
one with the Force. Initially released as Star Wars, the movie
was nHilled Episode IV; A Neiv Hope far its 1979 re-release.
EPISODE V: THE EMPIRE STRIKES HACK 09(HI>
Unlike A New Hop p. Empire ends with several unresolved
details, notably the fate of Han Solo and the veracity of
Vader's claim to he Luke's father. Director Irvin Kershner
likens Empire to "the second movement of a symphony. The
second movement is always a fa/yo; it's a slower movement
and it ain't come to such a climax that il has complete
closure. The grand climax is in the third movement," *
The Star Wars Saga
EPISODE HI: REVENGE
OF THE SITU (20031
In a 2005 interview, Lucas said pari of his goal with the creation of the second
trilogy was la change audiences' perspective of Darth Vader in the first trilogy
"In IV, people didn't know whether Vader was a robot or a monster, or if there 1
was anybody in there. This way, when you see him walk into the spaceship in
Episode IV, you're going to say “Oh my God, that's Ana kin. The poor guy is
still slack in that suit. So the tension and drama is completely reversed."
SKVWALKER RANCH
As a film student at the
University of Southern
California, George
Lucas dreamed of
building his own facility
for postproduction
sound and editing,
"a big fraternity
where filmmakers
could work together
and create together."
Using the profits from
both Artterican Gruff\ti
and Star Wars, he
transformed a 1,700 acre ranch (later expanded to cover over 6300 acres) in
Mann County, California, Into Skywalker Ranch. The Victorian-styled Main
House (pictured) contains Lucas's offices and LucasfUm's research library.
EPISODE II: ATTACK OF
THE CLONES (20021
In a prophetic 1979 interv iew,
Lucas said, "The day will come
when video will be of equal
quality to film and when more
people will switch over to using
video to shoot theatrical motion
pictures." Lucas collaborated
with Jonathan Hales to write the
screenplay for At took of the Gents,
which was the first major feature 3
shot entirely on high-definition
videotape instead of film.
EPISODE 1: THE PHANTOM
MENACE (1999)
Working with the back-story] he ha
sketched out for the first t nlogy, L
began writing the screenplay tor
] on November 1, 1994, and
directing after a 20-year absence.
"I enjoy is I directing Episode L 1
said in 1999, "but it's not my fnv
of the process. Directing is like a V
anybody who's done it knows l h
mak ing of it is in the ed 1 1 i ng pi
ri
REINVENTING JABBA
When the cameras nulled tor Star Wars in 1976, actor I Arc tan
Mulholland played Jabba the Hutt opposite Harrison Ford as I Ian
Solo in a sequence set in a Mus Eisley space port Lucas originally
intended to use 1 stop-motion effects for )abba, but the sequence was
ultimately cut, and Jabba did not make his movie debitt mud Return
of the JedL The cut footage was resurrected and combined with a
computer-generated Jabba for the Star Wrirs Speck! Edition (1997).
Behind the Scenes
Designing ti ii Galaxy
DESIGNING THE GALAXY
PRODUCTION PAINTINGS
When model-makere, sot and lighting designers, and
earner* operators work together to create a sequence,
production paintings help them to visualize specific scenes.
After I ,ucas approved the concept designs for the X* wings,
TIP fighters, and the Death Star trench for A New Hope, he
assigned Ralph McQuarrie to create this painting (left) to
show the scale of the Dealh Star battle station in relation to
the size of the slaughters, This production art served as an
aid to the visual effects department
NSTEAD OF HANDING finished screenplays over to art departments, George L
ucas
1 worked closely with highly talented concept artists to develop Shir Wars characters,
vehicles, and worlds while the movies' stories were still in progress. During the production
of Episode VI: The Empire Strikes Back, design consultant Ralph McQuarrie recalled that
Lucas "wanted to get what he could see in his mind onto the screen. I thought that what he
expected from me was the look he hoped for—the light, the textures, the excitement he saw
in his mind's eye." The approved concept artworks served as fully realised visual guides
—-—- -—-- for the designers of the Star Wiirs saga's many
ysA r - -k m a* costumes, sets, and models.
Mt ijuatru- j twept an for ttkJsr (stayed ' jP ^ j|-
Jnhn (vHuntr iktfctwi (n$hu '* j\l f f S*”/ ( P J
Concept Art a $ ife
George Lucas told Ralph / ! jj * irt Vy
Mdjtiiirrie that Darlh VaUer r J ’Wf Wm
should be a tail, black, majestic
figutvwith Himering mhei H — - -G
possibly wearing an exotic helmet, like a Japanese warrior, with a black silk scarf
acrw i tiis face. Studying Ihe original script, McQuarrie noted that Voder first
appeared when by jumped from one spaceship to another, so Lucas agreed he
should wear breathing apparatus "George liked Ihe mask that 1 did for Vader,
with the big goggles and so he said, 'That's great, that's fine/ and we just left it al
that." BcOuarrie's sketches provided reference for costume
designer lohn Mollo, who construct eil Voder's costume
ip allow for pieces to he removed quickly so the
! - actor "wouldn't have to go around all day in
, A j - the whole caboodle/' j- T -
STORYBOARDS
A senes of d r.i wings tha I 1 3 lustra U- the act u in a nd
fiompetition ulasbnt .j stnrybdjB may alsntndtide
relevant technua? holer. tor c.imuT'.m'ork and
For The ).toryboard artijr Reiumi lour
sometimes-extended thq-fgme. nf he’ chara cters l yYond
llu* reelangular I r une*' ft he area ^yieivcdf by the camera)
to better convey thdr movement
DEVELOPING CHARACTERS
McQuarrie created this poster concept (above), in which
Cheivb.iLca had fangs, while Lucas worked im the fust Star
Wirt Hcreepplay. The director had encouraged, McQuarrie to
make CAlT'O took like the robot from Frit/, jang'sAVtropoJis
(IV27}. The lighlsaBer-. w[elding hem nscmblis Lucas at Ihe time.
^ EXPANDED CONCEPTS
Assigned to develop a
new Sith villain for
V Attack of the Clones,
concept artist Dermnt
Power drew from his own
youthful interesl in martial arts to
create a vampiric, samurai¬
like female character. "I deliberately
curvet! Ihe Sith's Hghtsabcr," Power says.
"I wanted something exotic, almost
Arabic " Power's sketches were
temporarily shelved when the veteran
actor Christopher Lee signed on to play
Count Dooku, but the arl was later
utilized for Asajj Venfcre aa , Dooku'fr
deadly lightsabor-w r ielding
Sk l^ protege in the Cbm- Wars
cartoon, roinn ■. ami n .miniated
comp tile r^nipblcs Low- resolution T-O
ammaUcs created byjdop ,md
his U*am were used during i&'Ctfhre
production ol R&mge ofihr
COSTUME DESIGN
Wilh Lucas's attention to detail, it is no accident
that many Star Wens characters are im mediately
recognizable by their clothing. For Tire Phantom
Menace, Lucas asked concept artist lain McCaig and
costume designer Trisha Ihggar to d ress the people
of Thecd in the "clothing of paradise." McCaig's
conceptual design for Queen Am id a b combined
aspects of Pre-Raphaelite pain tings and art
nouveau wilh Tibetan and Mongolian
ceremonial vestments. ^ Jfe
Thu concept an m t-Jwtn Natindiot %tymt
iht ktyr r Irtfts/ft 'ontseant, n fterr pnOtn
fiurufH’rj it pfmHted bio todmarail itifrm
Vfii/itiii ilrbulrti rrr Dark thmr C/unu i'
M St hum “ nhlTamtrr/nuur\rn%it/f*tu™>mt
Behind the Scenes
Matte Paintings
A key effect since the earliest days of filmmaking, matte
paintings allow live-action sequences to take place in
scenes that "expand" beyond the set. For TV Empire
Strikes Back, Ralph McQuarrio conceived and designed
VISUAL EFFECTS
W HILE PREPARING FOR Star Wars in 1975, George Lucas
investigated existing optical facilities but could not find
"a special-effects company equipped to do what I wanted to do.
The only course was to start a company of my own to do the
special effects, and to start from scratch, hiring young people
and, where necessary, training them.” Initially founded to work
solely on Star Wars , Industrial Light & Magic (ELM} combined
new technology with old techniques to create stunning visual
effects, and went on to produce groundbreaking work for over 125
features. Despite the first trilogy's award-winning visuals, Lucas
was frustrated by the technological limitations, and was reluctant
to develop a new Star tors movie "unless I had the technology
available to really tell the kind of story I was interested in telling/'
the shot that utilized his matte painting of Cloud City
at twilight (below). McQuarrie's painting (above) was
done by applying paint directly to a large sheet of glass,
enabling the filmed
H■ action to fill in the
I blacked-out areas.
Today this method
- . . has been replaced
by digital mattes,
|jj/ . computer-generated
environments that
: _ look absolutely real.
Nearly 10 years after the release of Return of the ]edi t Lucas
saw the photo-realistic computer-genera ted (CG) dinosaurs
ILM created for Steven Spielberg's Jurassic Park (1993)
and realized the time had come to return to
Star Wars. "With CG at my disposal, Y
V knew I could do whatever I wanted."
MOTION-CONTROL CAMERA
In the first Star Ware trilogy, the vehicles may have
appeared to fly post the camera, bul it was actually the
camera that moved. II .M's firsl visual effects supervisor
John Dykstra, custom-hardwired a computer to an old
Vista Vision camera to create a motion control system that
was dubbed the Dykstra flex. The Dykstra flex camera was
attached to the end of a boom arm, and could
be programmed to pan, tilt,
pass, and track around a
model positioned before a
bluescreen, then repeat the
same movements exactly f -J
for subsequent elements j
tha t could then be added p
to the same shot.
Visual Effects
lightsaber evolution
For the first three movies, the lightsaber effect utilized
mtoscoping: the artistic retouching of individual frames
on a length of film. Spinning w ooden "blades" (right)
were coated with material that reflected the set's lights,
then photographed through a half-silvered mirror.
Through the camera, the Iightsahers appeared to glow,
which was enhanced by rotoscoplng. in the second
trilogy (above), lightsabers were built with metal blades,
and were illuminated by CG effects in postproduction.
COMPUTER-GENERATED IMAGES
For the scene in which Obi-Wan tours the
Kaminoan cloning facility in Attach of die Clones,
actor Ewan McGregor was filmed alone in front
nf a bluescreen, without co-actors, props, or a set.
The footage of McGregor was I hen composited
with CG characters and surroundings, and texture
and details were added. The final illusion is that
Obi-Wan is walking through a glass-lined corridor
with Lama Su and faun We.
SOUND DESIGN
Thinking that electronic sound had been overused
In fantasy films, George Lucas encouraged the
recording of sounds from real sources—not from
synthesizers—for the sounds of Star Wars , These
recordings were later enhanced to create distinctive
sounds for spacecraft, weapuns, and creatures,
fust as sound designer Ben Burn collected a wide
variety of sounds for the first Star Wars tri logy,
supervising sound editor Matthew Wood (above)
gathered rare sounds for use in the second trilogy.
MUSICAL SCORE
Composer of the scores for all six Star Wars films, John Williams
conducted the 87-piece London Symphony Orchestra in March 1977
to record the original music for Star Wars (above). Williams created a
theme for all the main characters. "I made a conscious decision to try
to model and shape the score on late-nineteenth-century, romantic
orchestral scores," Williams said In 19P9.
121
Behind the Scenes
Model-making
MODEL-MAKING
FULL-SCALE MODELS
Luke's landspeeder was a full'Scale mechanical prop
made for A Nav Mope. Built in England, one version of
the land speeder wifi three* w heeled motorized
vehicle, which was used fur location shots in
Tunisia, After it was shipped to California for
additional scenes in Death Valley, some ILM
cm ploy ees d re w c u nous sta res w hen they ^
drove it around the local streets.
W HEN GEORGE LUCAS founded the visual effects
company that would come to be named Industrial
Light & Magic (ILM), he hired a group of young model-
makers to build the v ehicles conceived by Ralph
McQuarrie and Joe Johnston for Star Wtrrs. Supervising
modebmaker Steve Gawiey has been with ILM since
it was formed in 1975, and has worked on more than
40 films, Gawiey says, "Throughout the years, we have built trains, planes,
automobiles, spaceships, creatures, and everything in between. Additionally,
we can help the directors of various projects see things in 3-D by providing
maquettes [concept models] before they are realized in digital form*" j
iLM 'i chief mutel-maket Gmm
MeCuite maiki an X-H. irt$for the
fint Sl4T W mfitm In /V7$,
f PLASTIC MODELS
Many model spacecrafts fur Star Wars
were assembled by combining new
parts with bits and pieces from existing
off-the-shelf model kits. The model of
the Imperial TIE interceptor (above) was
designed by foe Johnston and constructed
by Lary Tan, and measures about
61 centimeters (2 feet) across.
ROD PUPPET
To crea te the rancor
monster for Episode VI:
Rea 1 tire of the jaii . creature
designer Phil Tippett used a
61-centimeter (2 feet) tall, foam-
rubber rod puppet, controlled
by thuee puppeteers.
SET MODELS
Used as a visual guide for set builders, set
models also create positions for cameras and
actors. The production art department maquette
for the Yavm 4 hangar (left) in Episode IV:
A New Hope was made of paper and cardboard.
SHOOTING STOP-MOTION MODELS
Slop-motion animation is the process of filming models one frame at a
time, with minute adjustments to the model being made for each frame to
create the illusion of motion when the film is played at normal speed. The
Imperial AT-ATs in T/rr Empire Strike* Bade w ere created by Jon Berg and Tom
St. Amand from concept sketches by Joe Johnston. For the prototype, Berg
created moving parts that included small squared-off pistons in the upper
legs* which made the AT-ATs appear more mechanically operational.
MINIATURES
Retvugr of thr Sith features the largest miniature
ever built for a Star Wars film—the volcanic planet
Must a far, Visual effects supervisors John Knoll
and Roger Guyett worked with the ILM
model shop, led by Brian Gemand, to film
the miniature. The shoot incorporated the
food-processing element methycel for
lava. Lead model-maker Nick D'Abo
inspects Ihe lava flow (below).
HAND PUPPETS
Special-creature designer
Stuart Freeborn (at left)
sculpted the foam la lex
puppet of Yoda for Empire,
and engi neered I he
mechanisms to control ,
its eyes, mouth, and
eais. The aged Jedi
Master was brought
to life by puppeteer
Frank Cte, who also
supplied Yoda r s voice.
CONCEPT MODELS
Working from concept sketches by Edw in Natividad, Michael
Patrick Murnane of the Skywalker Ranch concept art department
worked with Sculpey (a claylike compound) to create a
preproduction concept model of Zam W'esell. "Some people see
a drawing differently," notes Murnane, "but when you hand
over a 3-D model, you don't have to explain much, It helps to
talk on the same level." The maquette served as the basis far the
wardrobe department's final costume forZam.
122
' V
Bi t MNP thf Scenes
CAfWeFBHCT
MOVIE POSTERS
A S MOVIE POSTERS arc used for advance promotions as well as actual theatrical releases
and re-releases, it is not surprising that more posters have been produced for the six
Star IMtrs movies than for any other film series. Most are printed in large quantities, but
limited printings or commercial availability have made some of these posters highly
collectible. Although a number of posters are essentially reproductions of photographs,
the majority are painted works of art According to the prolific poster artist Drew Struzan,
"Photography is a direct reflection of reality Art is interpretive, therefore it embodies more
emotion and feeling. That's why George Lucas usually goes with a painting for his work,
because he wants to embody the feeling, or the soul, of the movie/'
Roger AWef i ftnpw "A “ punter
mikes the art for the /VA 7 rr-rrlease
jHntrrfttr Gone with ilie Wind
The Style "ft " potcr for the third
Star Wjrt movie. Return of ilw Joli,
HVJJr f\t Oiled hy Karuhtkt* Sana.
Rolfdi Mtffuame treated hr ■ Win Kent Jh .
B EFORE 1977, MERCHANDISING for movie properties tended to be a limited
venture to promote a theatrical release. The business changed dramatically
after George Lucas shrewdly retained the Star lAfors sequel rights and negotiated
away from 20th Century Fox the merchandising rights for his films. The idea
for Star W*?rs merchandise came to Lucas while he was working on the first
film's screenplay in his office, "I was sitting there all day writing and drinking
l coffee — writing about Wookiees and such, and I thought, wouldn't it be fun
L to have a Wtxtkiec mug?" Lucas thinks the idea may have been inspired by
I his dog, Indiana, who "was sort of a prototype for the Wookiee, and you're
ft always seeing these mugs of your favorite dog. It was just something that I
B wanted to have personally on my desk while I was writing rather than an
■ idea that l could take these out and sell them and make a lot of money"
PROr REPLICAS
Mosl genuine Star Wurs pmps
an? retained in the archives of
Lucasfilm, but same items have ^
been meticulously recreated to be
made available hi fans. Master Replicas
produced the Jedi Training Remote,
based on the pmp seen cm-screcti
in A New Hope. When placed
on ito display stand, the
r%
EDUCATION AL ENTERTAINMENT
All Star Wars toys and games encourage Iho
imagination, but some merchandise is mom
obviously educational, such as read-a long
btniks thal an? packaged with audio
accompaniment and designed for early
readers ("You will know it is lime
to rum the page when you hear
Artoo-Deloo beep like this.,,"). H
jA
i i r: 11. ■■■. ■... .i i .l.,i ■ I e jHRTjH
I-, linen,i ViM.i
i i
Would wty Collector i/urr release the evil Empemrfntm his
mint-condition confinesKenner Products pmduced tM &i*r
Wan actant figures and sold mate than 250 milium unit*
tv I wee H IWhnmi IWfJ. After bring lunighi h\ Hush to. Kenner
resumed production iff new Slaf Wilis mliun flgutrs in l W.
B LEGO & Lucasfilm
P In IWR, Lucas Licensing and The LEGO Group
I announced an exclusive, multi-year agreement that would
give LEGO worldwide righls to produce construction sets and
figurines based on Shir Wars. This deal marked the first properly
ever licensed by LEGO, and gave Lucasfilm an even stronger
presence in the European toy market. The 36-centimeter (14-inch)
tall Yoda was an exclusive prize in a promotion for Target stores,
and could he won by guessing the corned number of LEGO
^ bricks that made up the Jedi Master, t he promotion was so
lL papular that LEGO revamped its Yoda, which was made up
of 1,078 pieces, for their Ultimate Collector Series.
Using art from the Episode ttl
it sir i fuulr. (Jiant manufactured their
~Model fhtudl ,r 1 shirt featuring C-SPQ
and K2-D2 talrnvef in atlvant r of the
rrleatf of Revenge uf l he S i i ll
BO AKIM, AMIS
1 ,r r U.-J. 1 - biMFil g,113H-s 1
can turn a quiet evening
into a ba ttle fur control of the
galaxy The selection ranges
from I977 r s saga-specific Destroy
Death Star Gumr ("First urve to destroy
Dealh Star wins!") by Kenner/Parker
Bros, to Slur l%s versions of games
such as Stratego, Risk, and Trivial
Pursuit. Star Wars MONOPOLY
is available in an Original Trilogy
version, a Saga Edition, and as a
CD-ROM computer game,
REVENGE OF THE SPUD
Since Hasbro introduced Mr Potato Head in 1952,
the versatile vegetable has been the first loy advertised
on television, a star of Disney and Pixar's two Toy Story
movies, ihe official Ambassador for the Rhode Island
State Tourism Board, and an incentive for children lo play
with their food, In 2005, Hasbro/Flayskool released Darih
Titer, who comes equipped with detachable eyes, tongue,
nose, teeth, face-plate, helmet, cape, shin's, two ears, and
two arms lone holds a light sober).
Die 2005 Sagu Edition of Stuf Wan
monopoly mi wn eight sculpted
pewter tokens: Yoda. Ijtke, Princess
Isio. Obi Vtan Kenohi, lhath Wider, the
Empemr, I birth Maul, and Gnrvtrus.
Expanding the Universe
CONTINUING THE SAGA
RADIO DRAMAS
Author Brian Daley tripled a. 1 3-episode
radio dramatization of A Mew ttofw for lhe US
National Public Radio (NPR). It first aired in
1981, and NPR later produced drama* of Empire
and Jedi. Directed by John Madden, the voice
actors included Mark Hamill (Luke Skywalker)
and Anthony Daniels (C-3PG). The above photo
shows Daniels, Ann Sacks (Princess Leia), Perry
King (Han Solo), and Hilly IXe Williams (Lando
Calrissian) during production of Empire.
I N 1979, GEORGE LUCAS told an interviewer that he had initially conceived
the Star Wfars saga as two trilogies, then "after the success of Star Wars
[Episode IV] 1 added another trilogy," Lucas also stated that he had developed
"story treatments on all nine" films, but his more recent revelations contradict
this. As guest of honour at the Star Wars: Celebration ill convention m
Lucas admitted to an audience that "to be very honest with you, l never ever
thought of anything that happened beyond Episode VI, It's the Pakh Vader
story," Although Lucas has no intentions of directing a third Star VVffrs film
trilogy, he has announced new Star Wrvrs television projects in development,
including a 3-D animation version of Clone Wars, the cartoon action series set
between the events of Episode II: Attack of the Clones and Episode Ill:
of the Sith , With so many characters and worlds in the Star Wars universe; a
more stories expanding the events of the film trilogies, the Star Wflrs saga is
guaranteed to continue for many years to come.
■pnHnHWVH TlfE STAR WARS HOLIDAY SPECIAL
•i ” I Oj. Niivt-inU-r 17. PCS i I is , 11 ml I In- V.f
V ' i ly ' Mu hi w id an iyj-t‘r .imiii'in ool
^ v j _ " million?.. Despilr Ou- participation of most oMhe
^ principal actors Imm A Nnr Itope, animated
^ --Iliimri lli.Knitn.Jik I-J II 0 K 1 I tit. . 1 : 1 .L -vnu h,.
null le1 Mini 111^. In Ralph Ml iJlm: 1 ic I Lit- IA mill
A 'ImV I prihiuilinn piomoleJ .!■- a In c .ilum.lli (1
f _ r . f V,. I muvK.il-pot pnurn nr pu.nu-rLnnment w.i-
-T I ■ r '! .1 1 1 > ■ I I- II -I iv ■-p ■ ■ 1 i-1
was never aired again nr officially released on
Ralph Mt Qaurnt i pamling (/Mnv^ fort nt Vk1lH> (.lllllOUgh bOOtkgS of it do CXUSt), SO it has
r tffrmi TV vifWtn their rprtifxt ghmpv of Kaxhyvyk. HOW aSS-U Ril'd Ctlll Still US.
Ewok Adventures
Gtxirge Lucas oxecutive-prodxieed two television features, The Ewok Adventure:
Caravan of Courage (1984) and Eivoh; The Battle for Endor (1985), each of
which premiered on AliG in the US and were released theatrically in Europe,
Lucasfi I m -approved timelines place both stories before the events of Return of
the fedi , while producer Thomas G. Smith noted that a young Ewok's wooden
two-legged walker toy is evidence that "the Imperials had been there,"
Actor Warwick Davis reprised his jt*di role as the plucky Ewok, Wicket
W Warrick, in both films. The production design
was by foe Johnston, and both
MORE EWOK8
NHfpna Studios, the same animation company
that produced /lie Story of hie Faithful WSwutiir
jF for "The Star Wars tholiday Special,
flaunched Dir Etocfo & Proid* Adventure
Hfritr m 1985, jSkrtb was pic keif up fc
a second *sa>on Ihe following year,
fttBseiit('(i Ihe ongoing exploit
of i) k ever-res* mrcefuI Ewok
r jm&S* Wickel (lop right) and his
l nmparuon (bottom
right} Princess
f t Kneesaa
features won an Emmy award
for their special visual
effects. The movies were
released on DVD in 21X15
THE TOWANI FAMILY
Prequels to Return of the fedi, the Lut'h movies
follow young Cyndel Towani (Aubree Miller),
her brother Mace (Eric Walker), and her parents,
Catering and Jeremitt (Ronnula Flanagan ami
Guy Boyd—Paul Gleaser played Jeremitt in
Battle for Endor ) after they are marooned on
Endor Cyndel teaches Wicket how to
speak English, An ability he doesn't show
when he meets Princess Lei a.
The Baltic fur Endor features ihe ixrmUbty nt'i/j
Vwijj Jtrnmvi aj Jerk. played by hitki H*tieth a
iSJlMATED DROIDS
ithony Daniels provided C-3PO‘s voice for Nelvan.i
stud tits' Droids, which consisted of 13 episodes and a prime-
timeBpecial, The Great Hcq* The droids (left) are shown here
on the run from the wisecracking Vlix and Boba Fett in the
episode *A Race to the Finish*" which also introduced
the Boon I a Speeder Races, albeit without Pod racers,
To maintain continuity with Ihe Stor Wars films, Dnrids
is sirt 35 years before A Nnv Hope,
CLONE WARS
Premiering on the Cartoon Network in 2003, Star Wars:
CiOW Waif was produced and directed hv Genndy
Tartakovsky with art direclion by Paul Rudi.xh. II won
an Emmy for Out*landing Animated Program and
introduced Grievous before the release of Episode 111.
130
131
Star Wars Publishing
51 /IR
\W1I\S
Expanding tiif Universe
--—4
STAR WARS PUBLISHING
EARLY SPIN-OFF NOVELS
Prior to Ihe 1990s' Star Wars
puSIishing explosion, Ihe most
popular spin-off novels wen?
Pel Key's I lan Solo series, written
by author Brian Do ley— Soto
al Star's. End, l hi ri SWo's Jtofffg*
(right), and Han Solo
and the Last legacy.
A LTHOUGH NO ONE imagined how audiences would embrace the first Star IVrJrs
film, there was at least one indication that plenty of people were interested in the
movie. In November, 1976, Ballantine Books published Star Wars — Front the Advent arcs
of Luke Skywalker, a novel izati on of George Lucas's screenplay that was credited to the
director but ghostwritten by Alan Dean Foster. By February, 1977, the first printing of
a half-million copies of the novel had sold out. Another advance promotional boost for
Star Wars came from the first three issues of a six-issue Marvel Comics adaptation, which
came out before the film's theatrical release and sold extremely well. Jn 1978, Foster's
Splinter of the Mind's Eye became the first official Star Wars "expanded universe" novel,
with an adventure set shortly after A New Hope, Today, Star Wars books and comics
continue to enthrall readers, and regularly appear on bestseller lists.
FAVORITE VADER
Ralph McQuarrie modi run I V.? dvr's
helmet throughout the production of
S/flr Wars. His favorite version is on
the cover of the original nove fixation
(If ft): "George looked at the helmet
and said iE never looked better!'*'
FAN CLUB PERIODICALS
For commilied Star Wars fans, dedicated
publications an? available that include
exclusive interviews* fact-filled articles.
Fan art, merchandise offers, and advice
for collectors. Star Wnrs /rtsirfeT (left) meets
Ihe needs of US Ians, and there am also
similar periodical* produced lor Ihe UK,
France, Germany, Spain, and Mexico.
All of these magazines are affiliated with
Ehe Official Slur Wars Fan Club.
/?v mnrhztilt*>n t'j Rcvmjrr Uitnn'ri In Mnilhr*
Stover/fulunr.i nut 1 ihilt rxfxuui
Aml-in '* /alt U* the dari ski?, impined h\ a
mrrftnt with taieas to dlieaM the mavir't
DARK HORSF. COMICS
Founded by Mike Richardson in 1986, Dark I lurse Comics
began publishing Star Wars comics in 1991. As a long-time fan,
Richardson relished the opportunity, "To do Star Wars comics
fill respect, and a real interest in adding to the Star Wars
—stories that built on what was already there—was
\ exciting prospectU Dark Horse has produced over 100
collected editions of Star Wnrs titles: the art of a battle-worn
{left) bv Brian Ching is from Repubik tti\? (2004).
Marvel Comics
George Lucas was a fan of Marvel editor-writer Roy Thomas's
work on Conan and Tarzatt, and sought him out to develop a
Star Wars tie-in for A Nm? Hope. Thomas hired artists Howard
Chaykin and Steve Leialoha for the series, and the layout for
Chay kin's promotional poster was utilized for the first issue's
cover (right). Provided with little art reference, the artists were
encouraged to take creative liberty with Jabha because they had
been told he had been cut from the film. Of the thin, bipedal
Jabha who appeared in issue
#2, Leialoha later said, "Who
knew there would be sequels
or Special Editional"
:: 'AlAA
HEIR TO THE EMPIRE
g sr*\’!k
THE SAGA CONTINUES
After a long absence from
publishing. Star Wars returned
in the IWils with the best-selling
Heir to the Empire by Timothy
Zahn (Bantam, 1991). The story
introduced Mara Jade and
Grand Admiral Thrown, and
was followed by Dark force
Rising and JVir hts! Command
The three books collectively
form the "Thrawn Trilogy,"
BEHIND THE SCENES
Star Wars films have always been recognized
for their visual and technical achievements, and
many books have showcased work by the artists
and designers involved in the productions. While
then? is no question that Sfar Wars is the creation
of George Lucas, the writer-director has a I ways
acknowledged those who helped bring his visions
to the screen. In his foreword to Die Art of Slur Wars
Episode 111 of the Sidi by J.W. Rinzler,
Lucas sums up his appreciation of these artists:
"This book is a tribute to their amazing work — often
taken for granted once the film is complete — but
without which there would bv no film at all."
133
Expanding the Universe
VIDEO GAMES
Video Games
F OR THOSE WHO are impatient for starfighters and blasters to
become commercially available, or just want to put some
Pit Droids through their paces in the run up to an adrenalin¬
pumping Pod race, there are many Star Wars video
games to transport you to that far-away, ^
long-ago galaxy. But can they actually
make dreams come true? For Star Wars
actor Hayden Christensen, the fantasy of
being a lightsaber-wielding Jedi fighting against the
forces of evil became a reality. After he signed on to play
Ana kin Skywalker in Episode II, Christensen admitted he
had spent a lot of time in his younger days playing Star Wfrrs
video games: '"[my brother and l] used to lock ourselves in my
bedroom and relay the controller back and forth until we became Jedi Knights.
If l played it too much... it used to visit me in my dreams, I used to have dreams that I
was in the Star Wtfrs game. It just had such an impact."
The Empire Strikes Back (Parker Bros., 1982)
Set on Hoth, this side-scrolling shoot-'em-up cartridge game
(left) for Atari and Intellivision home consoles enables players
to take the role of a lone Rebel pilot, and fly a snow speeder to
attack an advancing squadron of Imperial AT-ATs. To stop the
walkers from reaching the shield generator (and in order to win
the game), the player has to dodge incoming homing missiles
and hit each walker 48 times.
BATTLE? RO NT (LUCASART5/
PANDEMIC STUDIOS, 2004)
If you ever wanted the Rebels to win the Battle of
Holh or lose the Baltic of Eitdor (right), you can make
it happen with Star Wars: Sattlefrqnt* Specifically
geared for team-based gameplay over the
r Internet, this game enables players to engage
in campaigns from holh film trilogies-
For battles set during Episodes l-Itl* players
choose whether to fight alongside the Republic
or the Separatists; for missions
during Episodes
IV-VI, the choice is
between the Empire
and the Alliance.
fn I9S2, Parker Bros released
thf finl Sur Waft irmiftuler
tfjj me far the Atari 2600 Y'CS.
1 J
X-WING (LUCAS A RTS, IW-94)
As PCs became affordable gaming platforms, video game
developers switched from cartridges to CD-ROMs, Lucas Arts'
first Star Wars CD-ROM games, such as X-WtNC {right), were
space combat simulators that put players into the cockpits of
several different starfighters, including X-wings, S-wings, TIE
■fighters, Interceptors, bombers, and experimental craft. *
KNIGHTS OF THE OLD REPUBLIC (LUCASARTS/BIOWARE, 2003)
This "golden-age saga" game is set four millennia before Episode
IV, and incorporates the Sith planet Korriban from the Titles vf the fedi
comics, as well as the familiar setting of Tatooine (below). Ksu.nrs of
the Old Republic not only enables players to wield lightsabers, but also
to face the challenge of whether they will be seduced by the dark side.
It received Game of the Year awards from dozens of major gaming
publications and websites.
THE SITH LORDS
(LUCAS ARTS/OBSI Dl AN
ENTERTAINMENT, 2004)
The sequel to Knights of the
Olp Republic picks up five
years into the civil war that
has devastated the Jedi.
ft also introduces VH another
nightmare-inducing Sith
Lord, Darth Nilulus (right).
i
IV.
REPUBLIC COMMANDO
A first-person shooter, Republic Commando (left
and above) offers the ability to play a lough-aa-nails
clone trooper in charge of a four-man squad during
the Clone Wars. Thanks to an innovative "One Touch
Squad Control" system, you can engage your squad
with a single button. The game—made for the Xbox or
PlayStation 2—can accomodate up to lb players online.
Space (-(Wwi Is wtuil it f j fill ufa'iU in Jl Mr TO Ljc.htm* i n
Uihovn, in an eifumsiott to the online game Sx\N Ws«s
GaUMS, Pin} err mn ru i famine thetr Hu ff Jty into
tpocr, amt engage w fm my*players in dogfight*,
REVENGE OF THE SITH
Released in advance of the movie, this third-person
actioner lets you play as Anakin Skywalker or Obi-Wan
Kenobi. It parallels the movie's story, but also presents
new characters and locations—and an amazing
alternate ending if you defeat Obi-Wan on Mustafar.
134
135
Star Wars Timeline
Star Wars Timeline
STAR WARS TIMELINE
May 21: Theatrical release of
The Empire Strikes Back . It goes on
to receive two Academy Awards.
1981
The Computer Division begins
development of the Pixar Image
Computer, the Edit Droid, and the
Sound Droid. 1LM develops the
Go-Motion animation process.
February 9; Star Wars syndicated
comic strip begins.
September 5: The 13-episode Star
Wars Radio Drama begins on National
Public Radio in the US. Anthony
Daniels and Mark Hamill recreate their
roles as C-3PO and Luke Sky walker.
1982
The Games Division is established;
Lucasfilm is the first film company
to develop and publish interactive
entertainment (video games).
January 11: Principal photography
begins on Revenge of the fedi at
Pinewood Studios,
England, with a
sandstorm scene that is
ultimately cut.
May: Principal
photography on ^ mftf Sf
Revenue . )f I hi ■ ftuii
iscompleleil with
1 hr speeder hike
cha*e a i jj \|
W HEN THE FIRST STAR WARS movie premiered
in 1977, George Lucas had little idea he was
about to make motion-picture history. "I was in Los
Angeles/' he says, "overseeing the sound mix on one
of the foreign versions of the film. I went to a restaurant^
on Hollywood Boulevard across from Grauman's Chinese
Theater. It was like a mob scene. One lane of traffic
was blocked off. There were police there. There were
limousines in front of the theater. There were lines, eight
or nine people wide, going both ways and around
the block. I said, 'My God, what's going on here? It -
1 must be a premiere or something/ I looked at the A
marquee, and it was Star Wars."
Joe Johnston 's storyboard art for
the opening o/Stfli Wars
Episode tV A New Hope,
An early publicity still
Jot the Jim Slaf
film, featuring tjrom left
to right} Mark Hamilt.
i Came Fisher. Peter
l Mayhrw. and
jk . Harrison Ford
htsttr conctpl bv artist Tim Jung for Episode V;
11k Empire Strikes back.
merchandising, and publishing
rights, Lucas signs a contract with
Twentieth Century Fox.
1975
Industrial Light
& Magic (1LM) is
established to create the
groundbreaking visual
effects for The Star Wars. jT&S
The Dykstraflex camera *i
is developed by John ^v \\ . I
Dykstra and 1LM.
Sprocket Systems is set
up to do the sound for
Tile Star Wars.
me
During post- J ”1
production. The Star £r
Wars is renamed
Star Wars.
January 15: Lucas
completes the
fou rth d ra ft of
the screenplay.
March 22: Principal photography
begins in Tunisia.
July 16: Principal photography is
completed at Elstree Studios, England.
December: The Star Wars novelization
is released.
1977
March: Composer John Williams
records the Star Wars score with the
London Symphony Orchestra.
May 1: The Northpoint Theater in
San Francisco presents the first test
screening of Star Wars.
The Lucasfilm Computer Division is
established alll.M. Sprocket Systems
is renamed Skywalker Sound.
March 5: Episode V: The Empire St ikes
Back begins principal photography
in Finse, Norway.
Seplember 24: Principal photography
for Episode V is completed at
Elstree Studios, England.
June: Episode IV: A New Hofh' is
released on video in the US.
Sur Wan fans stand ut line imtsufr
(iruumans Chinese Theater on fUdlywaoti
Boulevard in 1977\ eager n> txprrUnce
George Lotos's epte spate Jditiasy
SturWan Style m C m Paster.
1977 Art by Tim Cantrell.
Lucasfilm Ltd. is incorporated.
1972
George Lucas begins w riting notes
for what will become the first of four
drafts of The Star Wars screenplay.
August 20: Following the success
of American Graffiti, and after he
consequently turns down a higher
salary for directing The Star Wars
(Episode IV) in exchange for sequel.
May 25: Star Wars opens at 32 movie
theaters in North America. By the
middle of June it is playing in
350 theaters.
April 3: Star Wars receives seven
Academy Awards at the Oscar
ceremonies in Los Angeles.
November 17: "The Star Wars Holiday
Special," featuring most of the Star
Wars lead actors, airs on CBS TV.
Mari Hamill. Ale r Gutnnfki producer Gary Kurtz. and Lucas
celebrate Guinness r i 62nd birthday m T^aAiu. April 2. 1976
Star Wars Timeline
(ntty Kurt: helps
mints m rement r
( ' AP0 iAnthtmv ikntitk) .tifln his
i ftrmt stf Chinetf Theater,
1995
ll.M wins a Technical
Achievement Academy
Award for the creation of
the 1LM Digital Film
Compositing System.
August 29; The remastered
Star Wars trilogy, with
Tl iX-sound, is released
on video,
Carrie Taker ptrsenn r/wwJj«i in (Trier Mayhrw) nifh his Unix dexenrft
tjfriime Achirvrmrn! m<ritnl at the IV97 MTV Movie Awards.
1996
October 19: The six-episode
Return of the feds Radio Drama
begins on National Public Radio.
1997
January 18: George Lucas, Carrie
Fisher, Mark Harm 11, and friends
appear at the world premier
June 26^Sept ember 26; Filming of the
new movie Episode I: The Phantom
Menace takes place primarily at
Leavesden Studios, England,
1999
April 3D-May 2; The Star Wars
Celebration convention is held at the
Wings Over The Rockies Air and Space
Museum in Denver, Colorado.
1983
January 27; Lucas officially
changes the new film's title
to Return of the jedL
February 17-18: The Empire
Strikes Back Radio Drama
begins the first of 10
episodes on National
Public Radio,
May 25: Episode VI: Refunr of the fedi
has its US theatrical release.
It receives one Academy Award
" WTirn mne hundred ytan
screenings of the Star Wars Trilogy
Special Edition at both the Mann Village
and the Bruin theaters in Westwood
Village, Los Angeles.
January 31: The Star Wars Trilogy
Special Edition is released, opening in
cinemas across North America,
1984
March 11; Star Wars syndicated comic
strip series ends,
November 25: The Ewok Adventure:
Caravan of Courage airs on ABC TV as a
made-for-TV movie. It wins an Emmy
Award for Best Visual Effects,
1985
The Pixar Image Computer is
introduced at the National Computer
Graphics Conference.
September 7: The first season of
The Ewok & Droids Adventure Hour
begins on ABC TV.
November 24: F.m)ks: The
Battle for Endor airs on ABC
TV, It wins an Emmy Award
for Best Visual Effects.
1986
Lucasfilm sells the Pixar technology
to Steve Jobs, co-founder of Apple.
February 25: Return of the fedi is
released on video.
November 1: A second season of the
animated Ewoks starts on ABC".
1987
January 9: Star Tours ride opens
at Disneyland, California.
1994
November 1: George Lucas
begins writing the first draft of
Stor Wars; Episode I.
138
May 19; US theatrical release of Star
Wars: Episode I.
June 18: The Phantom Menace becomes
the first major full-length motion
picture to be publicly screened using
digital electronic projectors.
November 12;
Attack of the Clones
is released
on DVD,
2003
June 30“ J
September 17: I
Principal I
photography 1
for Episode 111
takes place at I
svdnov's Fo\ fl
Studios.
2004 I
September 21:^^
The first Star k
Wars Trilogy s <
Mtwrf thr frir/lir rtf
Episode tit, Smy tunrd!
hum Srtutn (Qui-Otm Jinn), Ray fttri tfhitth MumIl md
Em hot McCnejtof iOht Won tCenobi} on thr trt pfEpmmfr t
| une 26: Filming of Episode IL the
second of the new movies, begins at
Fox Studios, Sydney, Australia.
September 20; Principal photography
of Episode 11 wraps at Els tree Film
Studios in the UK — Attack of the Clones
is the first major motion picture to be
shot completely on digital.
1LM receives Technical
Achievement Academy
Awards for the ILM
Crea t it re l )yna m ics System
and the ILM Motion and
Structure Recovery System,
October 16; The Phantom
Menace is released on DVD.
May 16; Worldwide
release for Episode II:
Attack of the Clones.
August: Lucas begins
writing the screenplay for
Episode 111.
INDEX
A
Aargonar 53
Ackbar, Admiral 100,106
a i rspecde rs 17, 44
aiwhas 15
Alderaan 15, 61,72,75,79, 80-81
Alliance see Rebel Alliance
Ami da la, Padme 12,34, 35, 36, 37,
38,39,40,44,45, 46, 47,48,49, 54,
56,57,58,60,61,86,119
A to Hope (Episode IV) 114,116,
118,119, 121, 129, 130,131,132
Antilles, Captain 69
Argente, Passel 41
AT-ATs (All Terrain Armored
Transports) 67, 89, 96,120, 134
AT'STs (All Terrain Scout Transports)
89
Attack of the Clones (Episode 11)
114,117,118,123
B
Baas, Vodo-Siosk 25
Baba, Ponda 80
Bacta Tank 89
Bane, Darth 25,30,32
Bao-Dur 27
Battlefront (game) 134
Bespin 13,14,91,94,95
Bestine 14,80
Bigga r, Tri sh a 119
Billaba, Oepa 31
Bin ks. Jar Jar 34,35,38,48
Binware 134
Black Sun 33,64,65,68,69,96, 97
blasters 16, 17,34,56,67, 75, 81, 80,
82, 90, ?1,,94
BtueHadb 125
Boma® monks 98
Boonta Eve Classic 36,37, 69
Bossk 87,93
Bothans 96, 100,101,106
bounty hunters 41, 42, 44, 45,48, 68,
69,52,87,91,92,93,94,97,99,108
Bounty Hunters Guild 69,93
Boushh 97,99
Brianna 26,27
Brotherhood of Darkness 21, 25
Byss 108,109
C
C-3PO 17, 36,47,49,69, 75, 77,
78,79,80,82, 86, 92,94,95,98,
114, 118, 129, 131
Calrissian, Lando 68,94,95,98,
102,107
Carida 66, 68
Cartoon Network 131
Cato Neimoida 14, 54
C 'baoth, J oruus 107
CD-ROMs 134
Chewbacca 12,13,68,80,81, 82,
83,85,87,92,93,94,95,97,98,
99,100,102, 111, 118, 129, 130
Christensen, Hayden 134
C i rca rpo u s IV 14, 86
done armies 44-45,48,49,52,58,66,67
clones 45, 64, 107, 108, 111
Clone Wars 12,49, 50-51,53, 54, 56,
57,59,65,66, 84,91,135
Cloud City 13,94-95,96,100,102,
103, m
Cody, Clone Commander 58
Colonies 14
Comics 126,132,133
Commerce Guild 40,41
Confederacy of Independent Systems
(CIS) 40,41,50,52,53
Corde 44
CorcJlia 14,66,106
Core Worlds 15,31
Corporate Alliance 41, 52
Cpruscant 10,12,14,15,16,1 % 24,25,
28,29,30, 32,33,35,37,41,42,44,45,
48,49,54,55,57,58,59,60,61,63,64,
74,85,96,97,103, JUG 107,108,110,119
p
Dagobah 13,14, 88,90,91, 100
Daniels, Anthony 114, 130/131
Danttwiine 14, 53, 81,84
Daragon, Gav 20, 24
Paragon, Jori 24
Park Horse Comics 133
Parklighter, Biggs 66, 77, 84
Dark Lords 20, 21,26-27
Dark Woman (An'ya Kuro) 19, 42, 65
Death Star 13, 16, 32, 70-71,74, 75,
81,82,83, 84,85,86, 116/119
Death Star II 13,96, 100, 101,102,
103, 104,108
Deep Core 15,63
deflector shields 16,34, 35, 38,65
Dengar 87,92,93,99, 108
Devastator 74, 75
Dexter's Diner 44
Dianoga 82
13odonn a, Genera l 84
Dooku, Count 19,21,28,40, 41, 42,
43,48,49,52,53,54,55,118
Dorsk 82 110
dragonsnakes 90
droid armies 12, 34, 38, 48,50,52, 53,
54,56, 59
Droid Control Ship 12, 38,39
droids 16, 17,32,34, 35, 36,38,39,44,
48, 54, 61, 70,88,91,93,96,109
Droids 131
Purge 52, 53
Purron, Kyp 110
Dxun 27
Pykstra, John 122
Dykstraflex 122
E
Echo Base 87, 89, 96
Emmy awa rd s 130, 131
Empire, Galactic JO, 12,15,26,59,63,
64-65,66-67, 68, 70,72,74, 79,84, 89,
90,93,94, 100,104,106,108-109,135
Empire Strike Bock, The (Episode V)
T14/116. 118, 120,122, 124,134
End or, Forest Moon 14,100,101,
102,130
Battle of Endor 13,15,102-103,104,
106,135
energy shields 16,38
see also deflector shields
Eriadu 31, 70
Evazan, Dr 80
Ewok Adventure: Caravan of Courage ,
The 130
Ewoks 101,102,103,130,131
Eiwks & Droids Adventure Hour , The
131
Ewoks: The Battle for Endor 130
Executor 88,92,97
Expansion Region 14
F
4-LOM 93
fambaas 16,38
Fan Club 133
Fell, Soontir 66
Fett, Boba 45,48,68,69,81,87,89,92,
93,94,95,96,97,98,99,108,130,131
Fett, jango 28, 41,42,45,48, 69, 93
Fisher, Carrie 124
Force, the 16,18,19,20,21,25, 27,
30,36,37, 39,43,49,52, 57, 59, 60,
61, 78, 80, 81, 86, 88, 91, 92, 94, 95,
99,103,110/111
dark side 18,20,21,22, 24,25,
32,33,49, 53,56-57,91,94,
104,108, 109,111
Ford, Harrison 117
Forest Moon see Endor, Forest Moon
Fortuna, Bib 19,37,99
Foster, Alan Dean 132
Freeborn, Stuart 120
Free Trade Zones 31,34
G
Galactic Federation of the Free
Alliances 104
Galaxy 12-13,14-15
Gall 96,97
Gallia, Adi 31,42
Gamonreans 98
Gatdulla the Hu it, 47
Garyn, Alexi 33, 65
Gawley, Steve 120
Geonusis 14,19,41,55,71
Battle W Geonosis 12,48-49,50, 55
t-narltrees 90,91
Grand Moff 65,70
Great Holocron 19
Great Hyperspace War 12
Great Pit of Carkoon 99
Great Sith War 12, 24-25, 27
Great Temple 84, 85
Greedo 69,81
Grievous, General 53,54,55,56,57,131
Guinness, Alec 116
Gurtgans 12,16,34, 35, 38,53
Gunray, Nute 28, 34,40, 48,54,59
Guri 96
H
Halla 86,87
Hamill, Mark 114,115,116,130
Hasbro 128,129
Hett, A'Sharad 42,53
Hett, Sharad 31,47, 53
Hill, San 40
Holocrons see also Great Ho locron
Jedi 19,26,108
Sith 21,24,32,57
Ho lone! 16,17,103
holoprojectors 17
Home One 100
Honoghr 65,107
Noth 12,14,87,90,92,134
Battle of Moth 13, 88^89,96,
106,134
Noth, Lord 25
hypers pace travel 10,14,16, 70,
80,81,92
1
IG-88 droid 92,93
Imperial Naval Academy 66/77
l m pe r ia I N avy 64,65,70,1 (16
Imperial Palace 63, 65, 74 H 103
Imperial shuttles 65
Imperial Star Destroyers 61, 72
Industrial Light and Magic (1LM)
114, 120,121,122
Inner Run 14
InterGalactic Banking C lan 40,53
Iridonia 14, 32 ^
[abba tlie Hutt 12,19, 37,47, 597m
SI, K7, 94, %, 97,98-99,100, 103,117
Jabiim 52,53
Jade, Mara 65, 103,107, 110,132
Jawas 37, 46,76, 77,
78,79,80
Jedi Academy 13,110
Jedi Archives 19,42,44
Jedi Council 19, 28, 30, 37,39,42,
46,48,56
I ligh Council 30, 31
Jedi Library 24
Jedi Knights 10, 16, 19, 22, 24, 25,26,
29, 30, 52,90,104, 107,110
Jedi Order 10, 12, 13, 18-19, 24, 25,
26, 28,30,32, 33, 34, 36,37,39, 40,
42,46,47,48, 49, 50,52,53, 56, 58,
59, 60,63,65, 76, 78,79,90,104,
110-111
Jedi Purge 58-59, 65, 108
Jedi Temple 10,18, 19,28,29, 30,42,
44, 57,58,59
Jettster, Dexter 44
Jew, Benton 119
Jinn, Qui-Gon 19, 28, 29,34,36,37,
38, 39,78
Johnston, Joe 120,121,130
Jung, Tom 124
K
kaadu 38
Kaan, Lord 21,25
Kalburr crystal 86, 87
Kamino 14 r 15,44,45, 48, 49,52
Battle of Kamino 52
Kanos, Kir 65
Karrde, Talon 107
Kasdan, Law rente 1! 6
Kashyyyk 14,15,57,106, 130
Katarn, Kyle 74
Kenobi, Ben 76, 78,79,80,81, 82, 83,
90,95, 96,100, 103
Kenobi, Obi-Wan 18, 19,28,29,34,
37, 38, 39,43,44,45,47,48,49,52,
53,54, 55,56,58,59,60,61,65,74,
76, 77, 78-79,81,83,88, 91,100,116,
123,129/135
Kershner, Irvin 116
Khorda, Ashaar 41
KEAdi-Mimdi 19,30,31,42
Kintan 43
Klivian, Derek "Hobble” 66,89
Knights of the Oi d Republic (game)
134
Knobby white spiders 90
Koon, Plo 30
Korriban 20,27,134
Koth, Eeth 31
kouhuns 44
Krath 24
krayt dragons 79
Kressh, Ludo 20
Run, Exar 21, 24, 25, 32,110
Kuro, An'ya see Dark Woman
L
land speeders 17
Lars, Bern 46,61,76,78, 79
Lars, Cliegg 46
Lars homestead 46,47, 79
Lars, Owen 46, 61,76, 77, 78, 79
Lee, Christopher 118
Lego, 128
Leia, Princess see Organa, Princess
Leia
Lerrdlisk, Bevel 71
lightsabers 16,18,22, 24, 25,28,32,
33,39,43,46, 49,53,55,57, 59, 79,
80, 81,83,87, 88, 91,95,96,98, 99,
100.118, 123
Lucas, George 112,114-115,116,
117.118, 119, 122, 123,124,126,
128,129, 130,132,133
Lucas Arts 134,135
Lucas film 125,128,129,130
M
McCaig, Iain 119
McCaJum, Rick 115
McQuarrie, RaIph 114, II8,119,
120,122,124,130,132
MagnaGuards 55
Mai, Shu 41,59
Malak, Darth 26, 27
Mai a stare 14,36,42
Mandalorians 24, 28,42, 45
Mandalorian Wars 12,27
M a mis. Cel ina 107
Marquand, Richard 116
Marr, Visas 26, 27
Marvel comics 128, 132
Massassi 20,84, 111)
Maul, Darlh 32,33, 37, 38,39,40
merchandise 126,128-129
Mid Rim 14,15,31
MigheUa 33
Military Academics 66,68
Military Creation Act 44
M il ko 91
Millennium f alcon 16, 68,80,8t, 82,
83,84,85,89,92, 93,94,95,102,
103,111
Mimban 14,86-87
Mith'raw'ntiruodo 106
Modal Nodes 80
moisture farmers 37, 46,76, 78
Mon Calamari 52,100, 108
Mon, Ephant 69
Morgukai 43
Mas Eisley 69, 80,82, II7
Cantina 80
Mos Espa 46
Mothma, Mon 72, 100, 106
Motti, Admiral 70,81
movies 112,114,115,116-117,126
designs 118-119
model-making 120-121
posters 124-125
v is ua l c ffects 122-123
Mulholland, Declan 117
Murnane, Michael Patrick 120
Mustafa r 14,15,58,59,60,61,121,135
Muunilinst 40,52
Myrkr 106, 107
N
Naberrie, Pad me see A mid a la, Pad me
Naboo 14,15,16,31,34-35, 37,44,
46, 48,49
Battle of Naboo 12, 28,33,
38-39, 40,42,43,45, 53,56
Nar Shaddaa 27,68, 69,108
Nass, Boss 34, 35,38,53
Natividad, Edwin 119,120
Neimoidia 14
Neimoidians 34,38
N el va na Stu d ios 131
Nespis V 111 108,109
Nightsisters 33
Nihilus, Darth 26,27,134
Noghri 65, 106, 107
novels 124,132
Nunb, Nien 102
O
Ohs id ia n En te rta i n men t 134
Odan-Urr 21,24
Ohma-D'on 52,53
Onderon 27,109
Order 66 58,65
Ord Mantel I 14,28,87,89
Organa, Bail 56, 59, 61, 72, 79
Organa, Princess Leia 13,61,74-75,
77, 79,81,82,83, 84,85,86,87,91,
92,94, 95,97,98,99,100, 101, 102,
106, 107, 108,109,110, HI, 124
Qssus 24
Otdh Gunga 34,35,38
Outer Rim 14, 15, 28,31,32, 37,65,
79,111
Ozzel, Admiral 88
P
Padawans 28, 30,42,43,52,59
Pal pa tine
Senator 12,31,38
Supreme Chancellor 12,13,39,40,42,
44,48,49,50,52, 54, 55, 56,57,58
Emperor 13,14,15,20, 58,59,61,
63,64,65, 66, 67,68,70, 71,72,74,
92,95,96,100,101,102, 103,104,
106,107, 108, 109
Pandemic Studios 135
Parker Bros. 134
Pel laeon, Captain 106,107
PielL Evan 30
Phantom Menace, The (Episode I) 114,
117,119
Plagueis, Darth 19,56
pod racing 36, 37
Poggle the Lesser 41,49
Polls Massa 61
Poof, Yarael 30,41
Power, Dermot 118
praexium 110
Q
Qel-Droma, Cay 24
Qel-Droma, Ulic 24, 25
R
R2-D2 35, 47, 49,54, 69, 74,75, 77, 78,
79,80, 82, 84,86,90,98, 99, 108, 110,
129
Rancisis, Oppo 31
rancor 99,121
Rand, A lion "Jaq" 27
Rebel Alliance 13,15,72,74,75,77,79,
81,84,85, 86, 87, 88, 89,94, 95, 96, 97,
99,100,101, 102,106,101,102,103,135
Rendar, Dash 96,100
Republic, Galactic 10, 12, 13, 14, 15,
16,18,19, 20,22,24, 26, 28,30, 31,
34, 40,41, 42, 43,44,48,49, 50,52,
53,56,58, 63, 64,65,66,67, 72, 104,
106-107, 108,109, 110, 135
Republic Assault Ships 66
Rti 1 ub e jc Cum m a n no (ga me) 135
repulsors 17,31,67
Rand Ecliptic 77
Return of the )edi (Episode VI) 114,
116, 117, 121, 122,124,125,130
Retmigi 1 of the Sith (Episode III) 114,
115, 117, 119,121,129, 135
Royal Guards 64, 65
Royal Starship 35,37, 38, 44
Ruusan 14,21,24,25
Ba tt le of R u usa n 12, 25
S
Sadow, Naga 20, 24
Sand People 47, 78,79
see also Tusken Raiders
Sarlacc 99
scout troopers 66,67,101
Sebulba 36, 37
Secura, Aayla 29, 43, 58
Senate, Galactic 12, 22, 25,28,30, 31,
34,35, 38, 40, 42,44,48, 49, 52,56,
58,59, 62
Senate, Imperial 70,74, 75
Senators 22,30,40,41,42,50,56,59,74
Separatists 12,13,40-41,44,49,50,
52, 53,54,55,56, 57,58,60,135
Sempidal 110,111
Shadow Droids 109
Shadows of the Empire 134
Sidious, Darth 13,32,33,34, 37,38,
39,40,48, 52,54,56, 57, 58, 59,103
Sifo-Dyas 45
Sing, Aurra 28, 42
Sion, Darth 27
Sith 12, 20-21,22, 24, 25, 26,27,30,
32, 33,37,57,58, 59, 61,63, 74, 102,
103, 109
Sith Loros, Thk (ga me) 134
Sky wa I ker, A n a k i n 12,13, 18, 36-37,
38,39,43, 44,46,47, 48, 49, 52,53,
54-55,56,57,58,60,69,79,84, 100,
102, 103, 117,125,133,134,135
Sky walker, Luke 13, 19,61,76,77,
78,79,80,81,82, 83,84, 85,86, 87,
88, 89,92,90,91, 92,94,95,96,97,
98, 99, ltX), 101,102, 103, 104, 107,
108,110, 116
Sky wa I ker Ranch 117,120,124
Sky walker, Shnh 36,37,46, 47,77
Slave 1 45,92,%
Smith, Thomas G, 130
snowspeeders 89,96
snow troopers 67
Solo, Anakin 107, 111
Solo, Jaccn 107,111
Solo, Jaina 107,111
Solo, Han 13, 66, 68,80, 81, 82,83,
85,87, 88, 89,91,92,93,94,95,96r-
97,98, 9% 100,102,103,106, 107,
108, HI, 116, 117, 132
special technology 16-17
speeder bikes 17,46, 67, 101
Star Destroyers 64, 67, 74, 88, 89, 93
starfighters 16, 39,54,71, 84, 85,89,
100, 119
Stark Hyperspace War 12,28, 29,31
Star Wtfrs: Clone Wfrrs 131
Sta r Wars Hoi i d a y Sped a l 130
storm troopers 66, 67,70, 74, 75, 79,
80,81, 82,83,86,94, 102
Struzan, Drew 124
Su,Lama 45,123
Sullust 100,106
Sun rider, Nomi 24, 108
superlaser 70,101
Supreme Chancellor 30,31
T
Tagge, General 70
Tambor, Wat 40,59
Tantive IV 59,69, 72, 74,75
Tarkin, Ranulph 31
Tarkin, Wilhuff (Grand Moff) 31,61,
65,66,70, 81
Tatooine 14, 36,37,42, 46-47,61,69,
72, 74,75, 76, 77, 78,79,80,95, 96,
97,98,99, 134
tauntauns 88,89
Techno Union 40
Teek 130
Temple of Pomojema 87
Tela, Empress 24
Theed City 34,35, 38
Tholmc, Jedi Master 29,43
thought bomb 21,25
Thra wn. Grand Adm i ral 13,15,106,
107,132
Ti, Ktrana 110
TIE fighters 66,67,81,83,85,119,121
IIin, Saesee 30
Upoca City 45
Tippet, Phill 121
Tosche Station 77
Toward family 130
t ractor beams 16,81,82
Trade Federation 12,28,3L 34,35,37,
38,40,48,54
trade routes 14
Tusken Raiders 46,47, 53, 77, 78, 79
see also Sand People
Twentieth Century Fox 114,128
Twi'lek s 29,37,43
Tyrantas, Lord 40,42,45
U
Utapau 14,56,58
V
Vader, Darth 13,57,58, 59, 60-61,63,
65, 69,72, 74, 75, 76,79,82,83, 84,
85, 86, 87,88,89,90,91,92,93, 94,
95,96, 97, 100,101, 102, 103, 106,
107, 116, 117, 118, 129, 132
Valley of the Dark Lords 20
Va 1 oru m, Sup re me Cha nee l lor 31,
34,38
Ventress, Asajj 52,53,84,118
videogames 126,134,135
Vima-Da-Boda 108
Vos, Quinlan 21,29,43
voxyn 111
Vulpter 14,15
W
wampas 29, 88, 89
Warrick, Wicket W. 101,130
Watto 36,37,46
We, Taun 45, 123
Wesell, Zam 41,44,120
Wild Space 15
Williams, John 123
Windu, Mace 16, 28, 30,42,48,49, 53,
54,56, 57
Wookiees 15,57,68, 80, 93,128
World Devastators 108
X
Xizor, Prince 33,65,68, 69,93,96,97
X-wings 84,85,90,91, 119, 134
Y
Yaddle 31
Yavin 4 12,13, 14, 20, 24,84, 86, 87,
88, HO, 121
Battle of Yavin 12, 13,24,25,
84-85,87, 93,110
Yoda 12,13, 18, 19, 22, 30,39,44,49,
56, 57, 59, 61,65,88,90,91, 1U0, 103,
110, 120,128
ysalirniri 106,107
Yuuzhan Vong 13, 110, I II
Z
Y-wings 84
Zabraks 27,31,32
Ziost 20
Zuekuss 93
ACKNOWLEDGMENTS
Warren l u, Lin Hillwood; Mare Gahanna; Manuel
Cuda;Cirl«Giizai; Drew Geraci; Lin Gibson; Id mas
Citwelln; t.»fiint Gnlrsih. Chris Gn&seit; Jim I l.ill, Mirk
Harrison, Stephen Hawthorne; MarkG. Heike; Clayton
Henry; Tim and Greg Hildebrand t; Kick Hoberg; Mall
Hollingsworth; Jay Hursi; Lktiiim Jew; Drew Johnson;
|i*‘ Johnslon; [inn Jung; Roger K.isk-I, Rafael Kay arum;
Cam Kennedy; Igim Kordey; Ray Kryssmg; Kay l ago;
Steve Ia-ialnha; Kick Uimtinli. Mark l.ipka; Carl l.yiw,
Kick Magyar; Lucas Marangon; (.iary Martin; Iain
McCaig, K.itph KtcQuarrii 1 ; John Mol Jo; Scan Murphy;
John Nadeau; led N.nfeti. Makolo Nakabuika; Edwin
Nalivhdad, John Ostrander, Jimmy Palmiolli; Dan
Pareons; Kml Pereira; Kili.in I’hmkell; Fric Powell,
Dermot Power; Ron Randall, Ihm Raney; AI Rin;
Andrew Robinson; ]rm Royal, R Craig Russell; Sun
Sakai; ’bunco Sanda; Kav-uhiko Sarny line Shannwer;
Monty Sheldon; Tom Simmons, Chris Stane; Chris
Sprouse; Dave Stevenson; Drew Stru/jn; Mike Sulim,
Roherl Tcramshi, Derek Thompson^' Kaol in-vino,
Olivier Valine; Christian Dalla Vecchia; Chip Wallace,
^ 1 t iVi-Un-iell, I Liny, ivhi-.itk-v, leriyi iVhttbid
Williams; A I Williamson; Sian V
AUTHOR ACKNOWLEDGMENTS
Many Star Wire publications were used as reference lor
Ihis book, and I am especially indebted to Dan Madsen
and Jon Bradley Snyder for I hear contributions to Star
Wars Insofar, Dan Wallace tor his Guide biHiks,
l.isa Findlay al Random House for providing various
Star Wars books, and Brian j, Robb al talari Maga/Lues
lor providing copies of Star Wars; The Official May 1 a; u\K would also like lo thank the following creative
talent* for Iheir contribution* to this book:
Dusty Abell; John Alvin; Jim Anush; Curtis Arnold,
Terry Austin, Ramon F. Ikichs; Keith Barnett; David
Jacob Beckett; Edvhi Biukovtc; Bill Hlark; Patrick
Blaine; Fred Blanchard, lim Bndatfcet; Chris Brunner;
Tom Cantrell; Dario Carrasco, ]r,; Claudio Castellini;
Paul Chadwick; Howard Chaykin; Brian t lung.
Steve Crespo, Rodolfo Damaggto; Dave Dorman; Jan
Diuirsi-m.i; Witold Dybowxki; Dean Ellis, Jordi l-jvssgn;
Carlos Ezquem; Dovidd Fabbri; Duncan Fegredo; Raul
Fcmarck*; Hugh Fleming; Jon Foster, Tom Fowler;
A FORMER EDITOR of Star War*
comics, Ryder Windham is the author
of over 51) Star W/irs books, including
DK Readers four an/ Through Spier
and Galactic Crisist as well as
the Revenge af the Sith Scraplwok
and junior nove I izations
of the Star Wars trilogy.
He lives with his wife and
two daughters in Providence,
Rhode Island.
Printed In Mndcc*
78075P6T4201
The first fully illustrated guide to all six Star Wars movies!
Star Wars: The Ultimate Visual Guide is the definitive companion Lo George Lucas's space fantasy, revealing the
full story of the epic battle between good and evil a long time ago in a galaxy far, far away. Packed with more
than 1,000 images, including movie stills and comic-book art, ibis is the must-have book for all Star Wars fans!
* The history of the Star Wars galaxy * Key characters, technology, droids, aliens, and locations
* Behind-the-scenes information on the making of the movies * Collectibles and merchandise
Full-color illustrations from the Star Wars Expanded Universe * Comics, novels, and video games
With a foreword by Ian Me Diarm id
Discover mnru a!
www.dk.com
Star Wars - Ultimate Visual Guide [2005]
STAR.WARS
THE mM PLRE STRIKES. BACK
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EMPIRE
STRIKES BACK
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RARE PHOTOS \ |”
CONCEPT ART
TALES FROM
THE SET
THE 40TH ANNIVERSARY SPECIAL EDITION
He ; ee, ee 7 1 A: Be Pe
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TEE £03 CHO TAR WOES Sore
1 ee Te
THE EMPIRE STRIKES BACK
It was the summer of 1977-the summer of Star Wars—and George Lucas was already at
work on a new story. Only this time, 1t wasn't Just for one film, but for what would become
the next two episodes of the original Star Wars trilogy.
The Empire Strikes Back came out in May 1980 and it became immediately apparent
that this wasn't just another sequel, but a space-fantasy masterpiece and—like the first
film—a modern fairy tale for all ages. lo many fans, it was not only one of the most
important chapters in the Skywalker saga—it was their favorite Star Wars movie.
‘Through on-set interviews with the cast and crew, fun facts, production photos,
and original concept art, this official Special delves deep into the story of Luke
Skywalker and Darth Vader, Leia Organa and Han Solo, the droids, and Hoth, the
ice planet. Relive the challenges of filming in Norway, the creation of the swamp planet
Dagobah, and discover the secrets behind the development of iconic characters
Lando Calrissian, Boba Fett, and Jedi Master Yoda...
TITAN EDITORIAL
Editor Jonathan Wilkins
Managing Editor Martin Eden
Art Director Oz Browne
Senior Designer Andrew Leung
Assistant Editor Phoebe Hedges
Production Controller Caterina Falqui
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Publishers Nick Landau & Vivian Cheung
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DISTRIBUTION
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For more info on advertising contact adinfo@titanemail.com
Contents © 2021 Lucasfilm Ltd. & TM. All Rights Reserved
First edition: June 2021
Star Wars: The Empire Strikes Back 40th Anniversary
Special Edition 1s published by ‘Titan Magazines, a division
of ‘Titan Publishing Group Limited, 144 Southwark Street,
London SEI] OUP
GLOBAL MAGAZINES, COMICS AND PARTWORKS
Publisher Lynn Waggoner Editorial Director Bianca Coletti Editorial Team Guido Frazzini (Director, Comics),
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without the prior written permission of the publisher.
A CIP catalogue record for this title is available from the
British Library.
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LUCASFILM EDITORIAL
Senior Editor Brett Rector
Art Director ‘Troy Alders
Creative Director Michael Siglain
Story Group Leland Chee, Pablo Hidalgo, Matt Martin
Creative Art Manager Phil Szostak
Asset Management Chris Argyropoulos, Nicole
LaCoursiere, Sarah Williams
Special Thanks: Lynne Hale, Christopher ‘Troise,
Eugene Paraszczuk
‘Disney + [tet
Julie Dorris (Senior Editor) Design Enrico Soave (Senior Designer) Art Ken Shue (VP, Global Art),
Roberto Santillo (Creative Director), Marco Ghiglione (Creative Manager), Manny Mederos (Creative
Manager), Stefano Attardi (Computer Art Designer) Portfolio Management Olivia Ciancarelli (Director)
Business & Marketing Mariantonietta Galla (Senior Manager, Franchise), Virpi Korhonen (Editorial Manager)
Text Alessandro Ferrari, Marco Rizzo, Steve Behling, Silvia Dell’Amore
Graphic Design co-d 8.1.1. — Milano Pre-Press co-d S.rJ.— Milano, Lito milano srl
THE EMPIRE STRIKES BACK SPECIAL ©
CONTENTS
CONTENTS
04 Introduction: The Myth Grows
06 ‘he Story So Far: A New Hope Recap
10 ‘lhe Story: The Empire Strikes Back
16 A New Story: The Saga Begins
26 ‘The Planets: Hoth
48 ‘he Planets: Life on Hoth
70 ‘The Master: Yoda
76 ‘The Planets: Dagobah
84 ‘he Villain: ‘he Emperor
94 ‘lhe Bounty Hunter: Boba Fett
104 ‘lhe Gambler: Lando Calrissian
110 ‘he Planets: Cloud City
124 ‘The Scenes: “I Know”
130 ‘lhe Scenes: “I Am Your Father”
140 ‘lhe Launch: Back in the Theaters
STAR WARS: THE EMPIRE STRIKES BACK | 3
bbe
TEM Tet GRO ues
W=VI VIZOIFZVE NWO ZIT-IVIN GS!
THE MY IH
GROWS.
n May 1977,
George Lucas’
gamble paid
off. Star
Wars: A film
different
from all others had just been
released, yet it was also a film
influenced by genres and
themes that audiences were
familiar and comfortable with,
and it had proved to be a huge
success. To droves of filmgoers
throughout the world it offered
a distinctive new take on sci-fi,
a blend of western and fantasy,
featuring memorable characters
and breathtaking special effects.
Now Lucas was not only hoping
to repeat his earlier success, but
to improve upon it and expand
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
his mythic story of good versus
evil. The very first Star Wars
would go down in history as
Star Wars: A New Hope, and
in the wake of that success,
work was about to begin on a
sequel, Star Wars: Episode V
The Empire Strikes Back. There
remained lots of questions to
answer. What would be the
fate of Luke Skywalker? Would
he become a Jedi Knight like
his father? Would Han Solo
ever really abandon the Rebel
Alliance? Would Princess Leia
and the Rebel Alliance go on to
defeat the Empire?
With the first Star Wars film
fans had only gotten a brief
glimpse of a complex galaxy,
as complex as the making of
sal THIS THEATRE |
SOONER THAN YOU THINK
J
the sequel would turn out to
be. Expectations were high,
the script was ambitious,
the budget grew by leaps
and bounds, day after day as
production went on. As far as
Lucas was concerned, he had
every intention of maintaining
control over his creations, to
the point of financing what
would be another colossal
blockbuster himself. This is
the story of Luke, Han, Leia...
and new friends like Yoda, new
enemies like Boba Fett, and
ambiguous co-protagonists
like Lando Calrissian. This is
the story of The Empire Strikes
Back, perhaps the most beloved
film in the saga, by fans and
critics alike.
ri .
| ik
WhARe
| =e
= > || | yo
STRI KES B BACK
The 1979 theatrical advance one-sheet, or teaser poster (left), for The Empire Strikes Back, designed by Tony Seiniger and David
Reneric, who also developed the approved crew-gear logo (right).
4 | STAR WARS: THE EMPIRE STRIKES BACK
STAR WARS. THE EMPIRE STRIKES BACK SPECIAL ©
Wile MN sIGiRIGN Ses:
The Empire Strikes
Back By Numbers
Number of R2-D2 droids used in the Film
Number of sets built for the Film
Diameter of the full-sized Mi/lennium Falcon set
Runnine time
Theaters on openine
Duration of principal photoeraphy
Opening weekend box office eross
Worldwide Box Office Gross
A Partial List of Costs
Rental of an elephant to model locomotion for the walkers:
Small Millennium Falcon model:
Boba Fett’s Slave I model:
Darth Vader's Executor ship model:
Star Destroyer 10-foot model:
Lawrence Kasdan’s fee for rewriting and polishing the script:
AT-ST walker model:
Harrison Ford's fee:
Soundtrack, performed by the London Symphony Orchestra:
Set construction:
Initial budget:
Final cost:
STAR WARS: THE EMPIRE STRIKES BACK | 5
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
bbe
A NEW HOPE
rm AVICI =OdVI 7VIiRd
6
01
A NEW HOPE
RECAP
Blending elements from the fantastic imaginary he had grown up with, a
promising young director, George Lucas, came up with the idea for a long,
complex saga somewhere between fantasy and science-fiction. Released as
a self-contained film with an evocative title, Star Wars would soon become a
pop-culture phenomenon and a huge box-office hit, which paved the way for
George Lucas to follow suit and let the legend unfold. ‘Uhe story Lucas had
come up with, rife with knights, princesses, pirates and an evil despot, slaked
worldwide audiences’ thirst for adventure. But evidently they still wanted more.
he galaxy
quakes with
fear when
the Galactic
Empire builds
an enormous,
seemingly unstoppable weapon,
the Death Star. The Rebel Alliance
manages to get its hands on the
Death Star plans, which are in the
safekeeping of Princess Leia of the
planet Alderaan. But her starship
is captured by an Imperial Star
Destroyer under the command
of Darth Vader, fearsome and
T
STAR WARS: THE EMPIRE STRIKES BACK
powerful emissary of the Galactic
Empire, and overrun by an army
of stormtroopers. Vader takes
the princess hostage, but not
before Leia manages to place a
message—and the Death Star
plans—inside an astromech
droid, R2-D2. He and his sidekick
C-3PO hightail it in an escape
pod and wind up on the desert
planet Tatooine.
The two droids are captured
by Jawa traders and sold to
Luke Skywalker, a young and
ambitious moisture farmer who
lives with his aunt and uncle.
While cleaning R2-D2, Luke
accidentally sets off Princess
Leia’s message and hears her say
the name, “Obi-Wan Kenobi”.
While Luke had never heard
that exact name, he figured it
must be a relative of the old
hermit, Ben Kenobi, who lived
out beyond the Dune Sea. That
night, R2-D2 sets out on his
own to find “Old” Ben, and it
isn’t until morning that Luke
and C-3PO are able to catch up
to him. The three are attacked
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
A NEW HOPE
01 R2-D2 reveals
Princess Lela's
all-important
message.
02 Han Solo and his
co-pilot Chewbacca
take control of the
Millennium Falcon.
03 Luke Skywalker,
Princess Lela, and
Han Solo prepare to
face the enemy.
STAR WARS: THE EMPIRE STRIKES BACK | 7
04
by Tusken Raiders, and then
saved by Ben, who mimics the
wail of a krayt dragon. Inside
his cottage, Ben reveals that
he is Obi-Wan Kenobi, a Jedi
Knight who served the Galactic
Republic before the rise of
the Empire. He also reveals to
Luke that his father was a Jedi
Knight as well, and gives Luke
the lightsaber that had once
belonged to him. Luke asks
how his father died, and Obi-
Wan tells him about a former
pupil, Darth Vader, who had
been lured to the dark side
of the Force—Darth Vader killed
Luke’s father. In the process,
Luke learns about a mystical
energy field known as the Force
that gives the Jedi Knights their
power.
In the presence of Obi-Wan,
R2-D2 delivers the message sent
to him by Princess Leia, who
begs him to deliver the droid
(which contains information
vital to the survival of the Rebel
Alliance) safely to her father on
Alderaan. Ben asks Luke to come
with him, but Luke declines,
though he offers to take Kenobi
to the nearest port. On the way,
they discover the smoldering
frame of a sandcrawler, owned
by the same Jawas who sold his
uncle R2-D2 and C-3PO. Kenobi
knows who is responsible—
Imperial stormtroopers. Despite
Ben’s pleas, Luke heads home,
only to discover both his aunt
and uncle have been murdered
by stormtroopers looking for
the droids.
Left with no choice, Luke
teams up with Obi-Wan, R2-D2
and C-3PO, and the group head
to Mos Eisley, specifically the
cantina, hoping to find a pilot
who can fly them to Alderaan.
There, they meet smuggler Han
Solo and his Wookiee copilot,
Chewbacca. Han agrees to take
our friends to Alderaan on his
Millennium Falcon—tor a hefty
sum. The fee will offset the
debt Han owes to mobster
Jabba the Hutt. But before
8 | STAR WARS: THE EMPIRE STRIKES BACK
05
Han can leave the cantina, one
of Jabba’s thugs, Greedo, asks
him for the money he owes.
Han doesn’t have it yet, and
Greedo suggests Jabba might
settle in exchange for Han’s
ship. A lethal exchange follows,
leaving Han the sole survivor.
Meanwhile, Leia is tortured
on the Death Star by Darth
Vader and the battle station’s
commander, Grand Moff
Tarkin. Her resolve is so strong
that she reveals nothing to
her captors. In order to force
Leia to reveal the location of
the hidden rebel base, Tarkin
threatens to use the Death Star
to destroy Alderaan. Leia hopes
that giving Tarkin the location
of an abandoned rebel base
might spare her homeworld
from destruction, but Tarkin
orders his men to fire regardless.
En route to Alderaan
aboard the Falcon, Luke begins
training under Obi-Wan. Upon
reaching the location where
Alderaan should be, all they
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
w
A NEW HOPE
find is a cluster of asteroids.
Soon the freighter is captured
and pulled on board the Death
Star. The group quickly learns
that Princess Leia herself is
imprisoned within the space
station. While Obi-Wan
deactivates the tractor beam
that’s keeping the Falcon
from leaving, Luke and Han,
disguised as stormtroopers,
O04 Darth Vader versus
Obi-Wan Kenobi-in
a fateful duel.
and Chewie, their phoney
prisoner, succeed in freeing
Princess Leia. But before they
can make it back to the ship,
Obi-Wan encounters Darth
Vader. The two duel it out with
their lightsabers. Once sure
that his friends can escape,
Obi-Wan allows Darth Vader to
kill him. The group boards the
Falcon and takes off, unaware
that a tracking device has been
planted on the ship.
Arriving at the secret base
on Yavin 4, rebel technicians
are at last able to analyze the
Death Star plans. The rebels
spot a weak point and devise
a plan of attack. By now the
Death Star approaches Yavin 4.
Han opts out of the imminent
battle, while Luke joins the fleet
of rebel starfighters who'll lead
the attack on the Death Star.
As Luke hones in on the battle
station’s tiny exhaust port, he
is fired upon by Darth Vader,
who is leading a squadron of
TIE fighters. Luckily Han and
Chewie unexpectedly return
in the Falcon and stave off
Darth Vader’s attack. Just as
Luke is about to fire at the
Death Star, he hears Obi-Wan’s
voice exhorting him to “use
the Force.” The Death Star is
destroyed, and the explosion
sends Darth Vader’s ship
careening through space.
On Yavin 4, Luke, Han and
Chewbacca are met by Leia,
and celebrated as rebel heroes.
05 Luke Skywalker,
whose life is turned
upside-down in A
New Hope.
06 The rebels attack
the Death Star
during the climax
of A New Hope.
STAR WARS: THE EMPIRE STRIKES BACK | 9
bbe
10
THE SLORY
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
W=VI VIZOIZVE NWO ZIAIVIN SR
THE EMPIRE
STRIKES
BACK
Like many other great stories, J he Empire Strikes Back is based on a three-act
structure. Despite the fact that 1t 1s the second film m a trilogy, the screenplay—
which experienced a troubled production—1s exquisitely satisfying even on Its
own. science-fiction author and screenwriter Leigh Brackett began work on
the script, which, following her death in 1978, was completed by Lawrence
Kasdan, based on an outline by George Lucas.
ACT ONE
In which the characters
are presented, the context
is defined, interpersonal
relations are explored anda
change in the status quo eets
the ball rolling.
A long time ago, in a galaxy
far, far away...
Three years after the destruction
of the Death Star, members of
the Rebel Alliance headed by
Princess Leia Organa, fleeing the
forces of the Empire, find refuge
on the ice planet Hoth. Luke,
by this time a point man for the
Rebel Alliance, is patrolling the
surrounding area. He sees what
looks like a meteorite and radios
this intelligence to Han. Before
he can investigate, Luke is
knocked out by a giant wampa.
Back at Echo Base, Han informs
Leia that he aims to leave soon,
so he can make good on his debt
STAR WARS: THE EMPIRE STRIKES BACK
to Jabba the Hutt. Leia protests,
saying that Han is a natural
leader. But he believes the reason
Leia doesn’t want him to leave is
because of her feelings for him.
Realizing Luke has not
returned, Han sets out in search
of the young rebel. Inside the
wampa’s cave, a captured Luke
uses the Force to escape. He
encounters the Force ghost of
his mentor, Obi-Wan Kenobi,
who urges him to continue
training with Jedi Master Yoda
on the planet of Dagobah. Han
saves Luke, and the two are
rescued by rebel pilots. Not
long thereafter, an Imperial
probe droid picks up signs of
life on Hoth. Darth Vader is
adamant that the rebels are
hiding there, and gives the
order to attack.
The Empire arrives on
Hoth, and begin their assault
on the rebels’ base, aided by
their monstrous AT-AT walkers.
Despite their dogged resistance,
the Rebel Alliance is forced
to evacuate.
ACT TWO
In which the hero sets out
ona quest, the characters
interpersonal relation-
ships mature, and the
situation erows worse.
Leia, Han, Chewie, and C-3PO
escape aboard the Millennium
Falcon, but damage to its
hyperdrive system slows them
down. To dodge Imperial TIE
fighters, Han steers his ship
into an asteroid field. In the
meantime, Darth Vader has
summoned bounty hunters to
track down his enemies.
Meanwhile, Luke evacuates
Hoth aboard his X-wing, where
he and R2-D2 set course for
Dagobah. After crash landing in
a swamp, the pair set up camp,
where they are soon greeted by
YO
a tiny creature, who turns out to
be Jedi Master Yoda.
Aboard the Falcon, Leia and
Han share their first kiss. On
Dagobah, Yoda teaches Luke the
ways of the Force, while warning
the young apprentice of the dark
side. Luke has a premonition that
his friends are in serious trouble.
Against the wishes of Yoda and
the Force spirit of Obi-Wan, he
abandons his training for the
time being to come to their aid.
The Falcon is now headed for
Cloud City, the metropolis that
floats above the gas giant Bespin,
where they are greeted by the
smiling Lando Calrissian, an old
friend of Han’s who might be
able to help them. But instead of
helping, Lando turns Han and
company over to Darth Vader.
ACT THREE
In which the hero and
his comrades take on the
antagonist. Things chanee
radically after the fieht.
THE STORY
Faced with the choice of
collaborating with the Empire
or having Cloud City destroyed,
Lando has betrayed the escaping
Rebels. Darth Vader tortures Han
and Leia in order to attract Luke’s
attention and lure him there. He
plans to use a carbon-freezing
chamber to place Luke in a state
of hibernation, before turning
him over to his own superior,
the fearsome Emperor. But first,
Vader uses Han as a test subject,
to ensure the process won’t kill
his prize. Right before he’s to be
frozen, Leia tells Han she loves
him. His reply? “I know.” The
two kiss, then Han is placed in
the chamber. The experiment is
a success, and Han is turned over
to bounty hunter Boba Fett, who
will take him to Jabba the Hutt.
By now, Luke has arrived
on Cloud City, and is making
his way through the facility to
locate his friends. Lando, now
realizing the grave error he’s
made in aiding the Empire, frees
Leia, Chewbacca, and C-3PO.
They attempt to catch Boba Fett,
but they are too late.
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
Luke and Darth Vader engage
in lightsaber combat, and in
the process, Luke loses his right
hand. Darth Vader tries to lure
the young rebel over to the
dark side, but Luke resists. He
believes that it was Darth Vader
who killed his father. Luke is
stunned when Vader claims
that he, in fact, is Luke’s father.
Vader urges Luke to join him,
so they can rule the galaxy as
father and son. But Luke denies
his father his victory, throwing
himself off a platform into an
abyss. Plunging down a huge
conduit, Luke nearly falls from
Cloud City. Through the Force,
he contacts Leia, who is fleeing
aboard the Falcon with Chewie,
Lando and the droids. They turn
back and rescue Luke, only to be
followed by TIE fighters. R2-D2
at last succeeds in activating the
Falcon’s hyperdrive, allowing
them to elude their pursuers.
Leia and Luke reconnect with
the Rebel Alliance fleet, where
Luke is fitted with a cybernetic
hand. He and Leia say goodbye
to Lando and Chewbacca,
who head to Tatooine in
search of Han. @
12 | STAR WARS: THE EMPIRE STRIKES BACK
=.
“
———
01 Luke Skywalker-—
and his tauntaun-on
the remote ice world of
Hoth. (Previous spread)
O02 Danger on the
horizon-—in the form of
the AT-Als.
03 Meeting the
master—Luke
and Yoda.
04 Han Solo's frosty
fate, as Darth Vader
carbon-freezes him.
STAR WARS: THE EMPIRE STRIKES BACK | 13
04
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE STORY
05
U3 t-3rG..k2-B2,
Leia, and Luke watch
the Millennium Falcon
set off in the search for
Han Solo at the
conclusion of The
Empire Strikes Back.
14. | STAR WARS: THE EMPIRE STRIKES BACK
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
facie wh @ es
STAR WARS: THE EMPIRE STRIKES BACK | 15
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16
THE SAGA BEGINS
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
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THE SAGA
BEGINS
It was August 1977, and about two months after its premiere Star Wars was still
number one at the box ofhce. Lucasfilm was beginning negotiations with Fox
for the sequel, with the aim to get back the nghts to the characters and limit the
company’s creative control over the filmmaking process. ‘he agreement would
be signed at the end of September, giving George Lucas the final cut of the
film and offering his company a better profit sharing deal. Meanwhile, trying
to rebuild Industrilal Light & Magic—which closed down upon the release of
the first film—Lucas was hiring back essential collaborators such as artist Ralph
McQuarrie and director of visual effects photography Dennis Muren, among
others. Everything was ready, but what was the story they would tell?
HE CONCEPT
— Star Wars:
Chapter I],
as it was
being called
at that time,
wasn’t just a sequel, it was part
of a whole saga. The success
of Star Wars, which an early
note written by George Lucas
initially placed as Episode
VI, was giving its creator the
chance to tell it all. In Summer
1977, these were the key
elements of the new story: A
lost sister trained as a Jedi—a
plot that would only find its
conclusion in 2019, in The Rise
of Skywalker, but that would
define the main storyline of
The Empire Strikes Back and
Return of the Jedi (1983); the
T
STAR WARS: THE EMPIRE STRIKES BACK
Emperor/Empire that had to
be destroyed; the Republic that
had to be restored. Also, Lucas
returned to an idea abandoned
before the first film was shot,
an idea that the death of Obi-
Wan Kenobi made necessary:
Luke needed a new master.
“A repulsive, threatening figure
can magically change into a
most helpful friend.” reads
one of Lucas’ notes on yellow
legal-lined pads.
“Talks to trees—shadows
move and disappear. He
[teacher] was Mynoc.
Human-computer. (Vader?)
Swordmasters.” Two other
elements were already present.
Obi-Wan’s manifestation as a
Force spirit and the relationship
between Luke and his father,
|
whose identity was still
uncertain: “Somewhere the
good father (Ben) watches
over the child’s fate, ready to
assert his power when critically
needed. Father changes into
Darth Vader, who is a passing
manifestation, and will return
triumphant. Luke travels to the
end of the world and makes
sacrifice to undo the spell put
on his father. He succeeds and
happiness is restored.”
One of the events Lucas
had to include had nothing to
do with his plans for the saga.
In January 1977, Mark Hamill
(the actor who played Luke
Skywalker in Star Wars) had
a car accident and fractured
his nose and cheekbone.
His face looked different;
ii es SS
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- - O01 Chewbacca
££. (Peter Mayhew),
Han Solo (Harrison
Ford), Princess Leia
(Carrie Fisher),
Luke Skywalker
(Mark Hamill)
inside the Hoth
rebel base set.
therefore, Luke’s face had to
look different: Chapter II would
start with the protagonist being
injured. According to Hamill,
when he asked Lucas what he
would have done if his main
actor would have been killed
in the car accident, Lucas
replied that no one would
have replaced him: “There’d
be a script change that would
have found a long-lost brother
or sister, something genetic,
so that the Force would be
with them.”
Later that year, after
visual effects artist Joe Johnston
was hired back and started
working on a snow battle he
didn’t know much about, Lucas
defined other vital elements
of the story: “Streamline
beginning—Leia to Vader
to Luke. Streamline attack
plot... Han thinks about Leia.
O02 The cockpit of the
Millennium Falconwas
built lareer than the one
used in Star Wars, but
Lucas thoueht it should
have been like the
original to better
simulate the cockpit
of bombers.
03 Mark Hamill
reprised the role of
Luke Skywalker, for
which he had trained
as an acrobat and
a eymnast.
04 Severely injured bya
wampa on the Ice planet
of Hoth, Luke Is saved by
Han Solo and later put
inside a bacta tank to
heal. To shoot the scene,
Mark Hamill had to learn
underwater diving ina
short time.
18 | STAR WARS: THE EMPIRE STRIKES BACK
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Leia about Han... Threepio
blown apart, transported in
pieces to area where he can be
reassembled. Han Solo, go on
mission and never come back.
End with Luke thinking about
him... Luke develops Force,
becomes powerful knight...
Luke-R-2 worried about where
going; Han and Leia find
asteroid field... Luke falls into
trap—Vader gets upper hand;
Luke barely escapes. On new
base... Act I: Love story; into
large threat (Emperor).” Every
main scene of the story was
there, ready to be transposed
into a script. But Lucas didn’t
want to do it himself, for writing
Star Wars had been the part he
enjoyed the least. This time, he
planned to hire screenwriters,
collaborate with them, give
them ideas, and make sure they
wouldn't lose sight of the most
important thing: Like the first
one, this new film had to bea
modern fairy tale for children,
with a strong sense of morality
and justice. As his notes read:
“Reassures, gives hope for
the future, and holds out the
promise of a happy ending...
Discover identity and calling...
Intimate that a rewarding,
good life is within one’s reach
despite adversity—but only if
one does not shy away from
the hazardous struggles without
which one can never achieve
true identity.”
THE WRITERS —- In November
1977, Lucas thought he had
found his writer: Leigh Brackett,
a celebrated author of detective
and science-fiction stories, who
wrote the script for Howard
Hawks’ The Big Sleep (1946,
together with William Faulkner
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL ee
THE SAGA BEGINS
STAR WARS: THE EMPIRE STRIKES BACK | 19
a
05
05 Special effects
photoeraphy supervisor
Richard Edlund shows
director Irvin Kershner
the optical printer.
It was used at the
end of the film to
put together all the
different elements
filmed separately and
to add visual effects.
06 Visual effects art
director Joe Johnston
(on the left) and
director Irvin Kershner
(on the right) in Front
of a wall of storyboards
at Industrial Light &
Magic’s new home in San
Rafael, California.
07 Optical printer
operator Kenneth Smith
behind the optical
printer: desiened for
The Empire Strikes
Back, it had two pairs of
projectors throueh
which the films would
be run, and a camera to
rephotoeraph them.
and Jules Furthman), and later
for several John Wayne pictures
such as Rio Bravo (1959), Hatari!
(1962), El Dorado (1966), and
Rio Lobo (1970). A fan of those
films, Lucas started developing
his ideas with Brackett, and
on February 21, 1978, she
delivered the first draft. Despite
following closely Lucas’ notes
and treatment, starting from
the Ice Planet and taking Luke
to the bog planet where an
alien trained him, the script
didn’t have the right feeling.
The characters didn’t sound
like the Star Wars characters the
audience knew and loved. “The
truth of it is, | got captivated by
the thing; it’s in me now,” Lucas
later commented. “And I can’t
help but get upset or excited
when something isn’t the way
it’s supposed to be. I can see
20 | STAR WARS: THE EMPIRE STRIKES BACK
that world. I know the way the
characters live and breathe. In
a way, they have taken over. It’s
the hardest thing in writing to
be able to develop individual
characters that aren’t a reflection
of the mind that created them.
My thoughts during the story
conference weren't fully formed,
and I felt her script went off in a
completely different direction.”
George Lucas edited the script,
then tried to get in contact
with the writer to talk to her,
but he found out she had been
hospitalized. Leigh Brackett died
of cancer on Saturday, March
18, at the age of 60. Without
her, Lucas had no choice but to
write the second draft himself,
while Joe Johnston was already
working on the storyboards
for the snow battle. In this
new version, the story starts
with the epic battle on the ice
planet of Hoth, then focuses
on smaller conflicts that show
the characters’ emotional
development—such as Luke’s
training with Yoda, the identity
of his father, Han and Leia
betrayed by Lando, and Lando’s
redemption. This structure
would be reversed in the next
film, which starts with more
personal stories and ends with
the final battle between the
Rebel Alliance and the Empire.
Lucas wrote this second draft by
hand and made corrections as it
was typed up, one of which was
about the film’s position within
the saga. Star Wars: Chapter II
became Episode V: The Empire
Strikes Back for the first time.
For the following version
of the script, a new writer was
hired in June 1978: Lawrence
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL ' &\
THE SAGA BEGINS
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07 ~~ «Kasdan, who just transformed
Lucas’ treatment for Raiders of
the Lost Ark into a script. “The
reason George wanted me to
write it is because I’m really
strong in people,” said Kasdan.
“That’s what all my original
screenplays are about. They
tend to be much smaller stories
about a smaller number of
people, comedies and thrillers,
but they’re still entertainment.
George thought it was very
important that Empire have that.
If anything, we wanted Empire
to have deeper characterization,
more complex psychology for
the characters than the first Star
Wars.” Knowing that a third film
would follow helped Kasdan
sort out which ideas to use and
which to keep for the sequel.
A third draft was completed in
early August and a fourth one
STAR WARS: THE EMPIRE STRIKES BACK | 21
THE SAGA BEGINS
08
in October. “Tt was a constant
battle between character and
action, between speed and
any kind of respite, which I
believe in and I like to see in
a film,” said the writer. At the
beginning of 1979, Kasdan was
still working on the last minor
changes for the fifth and final
draft, which would be ready just
days before the filming started.
THE DIRECTOR - Between the
end of 1977 and the beginning
of 1978, Gary Kurtz, vice
president of production on Star
Wars, was looking for a director
since George Lucas didn’t want
to direct the sequel: “If I directed
Empire, then I’d have to direct
the next one and the next for
the rest of my life. I’ve never
really liked directing. I became
a director because I didn’t like
directors telling me how to edit,
and I became a writer because I
had to write something in order
to be able to direct something. So
I did everything out of necessity,
but what I really like is editing.”
After talking with Alan Parker
(who directed Bugsy Malone
in 1976), John Badham (who
directed Saturday Night Fever in
1977), and a few others, Kurtz
and Lucas found out it was
harder than expected. According
to Kurtz, many directors didn’t
want to be involved in the
sequel to a successful picture
because the reputation of the
first film could overshadow
them. Also, the film didn’t need
just any director, but one who
believed in the material, who
could develop the Star Wars
galaxy without forgetting this
had to be an adventure story.
Lucas realized the right person
was Irvin Kershner, who had
taught at the University of
Southern California’s School
of Cinema where Lucas had
studied and who appreciated
his early works. Kershner was
vastly experienced—he started
directing in the 1950s—and
loved the technical aspects and
visual possibilities that Empire
could offer: “I told George that
the only way I'd do the film is if
I felt I could top the first one. He
laughed and said that’s why he
wanted me to do it. He said, ‘It’s
not a sequel. This is a continuing
saga.’” The negotiation between
Lucasfilm and the director lasted
from February to April, 26, 1978,
the day Irvin Kershner signed
his contract. But pre-production
had started, and he was already
involved in every aspect. The
company George Lucas wanted
was taking form, and the saga he
had in mind was coming to life. @
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
08 On the Bespin
landing platform set,
Kershner talks with
actor Billy Dee Williams
(Lando Calrissian) while
shooting the arrival of
Han Solo (Harrison Ford,
in the background) and
the Millennium Falcon.
09 Director Irvin
Kershner on the Echo
Base set with actress
Carrie Fisher, during a
break from shooting.
Fisher is wearing her
Princess Lela snow
outfit.
22 | STAR WARS: THE EMPIRE STRIKES BACK
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE SAGA BEGINS
10 §
10 Harrison Ford
(Han Solo) and Mark
Hamill (Luke
Skywalker) discuss
the Hoth medical
center scene, in which
Leia kisses Luke, who
Is recovering from the
wampa attack, In
Front of Solo.
24 | STAR WARS: THE EMPIRE STRIKES BACK
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE SAGA BEGINS
a
ee RE
STAR WARS: THE EMPIRE STRIKES BACK | 25
a
26
THE PLANETS
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
W=VI AN-AVIUN
HOTLH
With temperatures as low as -60°C during the nights and landscapes constantly
buried under ice and snow, this is one of the most mhospitable planets of the
galaxy. [he almost unlivable climate 1s caused by Hoth’s great distance from
the primary sun of the system and also by its wide elliptical orbit—as a result,
it takes the planet 526 standard days to round that sun. Intense winds and
snowstorms constantly blow the frozen surface of Hoth, shaping the landscape
and amplifying the extreme cold. Even droids, speeders, and transports have a
tough life here. While Hoth’s hostile environment might dissuade visitors and
explorers, 1t makes the planet a very good place to hide, as the Rebellion knows
well. But even Hoth isn’t remote enough to elude the Empire’s probe droids
HE ORIGIN -
As he did for
| A New Hope,
George Lucas
made a list
of planets
in his notes when he started
imagining the sequel. Among
them, he named: the Wookiee
planet—on which production
illustrator Ralph McQuarrie
started working since he signed
his contract in October 1977,
but that would not appear in
the film; a gas planet called
Hoth—which would later
:
j
t
and keep the Echo Base safe.
become Bespin where Lando’s
Cloud City floats; and a generic
“Ice Planet”. It was only in
the second draft of the script
in 1978 that the name was
assigned to the actual ice planet
where the rebels would set up
their new outpost. From the Ice
Kingdom of Mongo featured
in Alex Raymond’s Flash
Gordon comics series (March
12, 1939 to April 7, 1940) to
Howard Hawks’s The Thing
from Another World (1951),
several influences shaped Hoth’s
concept and development. This
Ol Final painting of “Ice Castle” by Ralph McQuarrie, December 7-9, 1977
STAR WARS: THE EMPIRE STRIKES BACK
is how Lucas himself described
the planet in 1977: “We could
start on the Ice Planet, which
would be striking. We’ve
never been there before, an
underground installation in a
giant snow bank. Very hostile,
with wind blowing around and
the cold.”
In parallel to the world
of the Wookiees, covered in
huge trees, McQuarrie was
already painting ice and snow:
based on Lucas’ instructions,
since no finished script was
available at that time, the artist
O02 Mark Hamill on the
Hoth location in Finse,
Norway. Because of the
harsh conditions and
frequent snow storms,
many scenes had to be
shot a few feet away
from the hotel, including
the one where Luke
flees from the ice cave.
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE PLANETS
28 | STAR WARS: THE EMPIRE STRIKES BACK
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE PLANETS
~—
03 Rebel troopers —
are forced to retreat
during the Imperial
attack. To shoot some
of the scenes with
explosives, the second-
unit crew employed
mannequins dressed
up as rebel soldiers.
STAR WARS: THE EMPIRE STRIKES BACK | 29
.
was developing Darth Vader’s
home. Initially set in a cold
environment, the metal castle
of the Sith Lord was later placed
amid boiling lava, but it didn’t
make it in the film anyway—its
first appearance would only
be in 2005 in Revenge of the
Sith, though it was not actually
called Vader’s castle in the
final prequel film. Some of the
concept paintings were later
converted to first illustrate
the rebel base in the context
of Hoth. In the following
months the metal structure
disappeared and the base was
moved inside the ice caves,
which were considered natural
to the planet. Trying to figure
out the design of the interiors,
Ralph McQuarrie and visual
effects art director Joe Johnston
imagined how the rebels carved
the ice out to make room for
the hangar and the equipment:
“It was my feeling that lasers
would be used to accomplish
the cutting in long, straight
lines. That helped give mea
key to part of the solution.”
THE PLANETS
PROBLEMS ON SET - After
several trips across northern
Europe, in the spring of 1978
the Norwegian town of Finse
was chosen as the location for
Hoth. According to associate
producer Robert Watts, the
glacier in Finse provided “the
uninterrupted, treeless expanse”
that was ideal for shooting the
ice planet scenes. There was
also a hotel along the railway
line which was thirty minutes
away from the glacier, and
therefore quite convenient for
accommodating the film crew.
Yet filming in Finse proved very
challenging due to the chilling
weather conditions. With
temperatures around -30°C
(almost like the fictional planet
Hoth), violent snowstorms and
high winds, the film crew found
itself facing Norway’s coldest
winter in a hundred years.
Basic tasks such as reloading a
camera, using a tape recorder
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
04
or even, as admitted by director
Irvin Kershner, going to the
bathroom were extremely
difficult and required the
crew to think on their feet
and quickly come up with
alternative solutions. One such
solution was the decision to
shoot some scenes just a few
feet away from the hotel: “If
the camera would’ve turned
around, you’d have seen a
big hotel behind you,” said
assistant producer Jim Bloom,
“but because of the weather, it
looked like you were out in the
middle of nowhere.” Filming
started on Monday, March 5,
1979, under quite unfortunate
circumstances: a trench that
had been dug a few days before
by the construction crew was
buried in snow, meaning that
none of the planned scenes
could be shot; trains were
unable to reach Finse and the
road to the railway line was
blocked. The situation was
so critical that production
decided to call Harrison Ford
in a week early to film one
of his scenes instead. “We
thought we could shoot his
sequence that, because of
30 | STAR WARS: THE EMPIRE STRIKES BACK
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE PLANETS
04 Ford and Hamill in
their snow costumes.
Rebel troops wore
lieht-colored uniforms
to camouflage with
the snow.
05 C-3PO (left)
and the unlucky
K-3PO (right), who
did not survive the
Battle of Hoth.
06 Echo Station
3-T-8 rebel scouts in
a live-action image,
inspired by McQuarrie's
painting below.
O07 McQuarrie’s original
painting. Echo Station
3-T-8 rebel scouts were
the first ones to detect
the Imperial forces.
losing Stage 3 [destroyed by off the railway road, however, weather variations which led
a fire in January 24, while it Ford’s journey wasn’t going them to run over schedule.
was housing the hotel lobby of to be an easy one: in order to “We were supposed to be there
Stanley Kubrick’s The Shining], successfully reach Finse from for three weeks,” said Bloom.
we were going to shoot at Oslo, the actor had to take “We were there for eight.” The
Leeds Studios 2,” said associate a train, two taxis and was unit wrapped on Tuesday, April
producer Robert Watts. “If eventually picked up by 3; on the same day, another
we could get this sequence a snowplow twenty-three avalanche took place—a
successfully in Norway, this miles from Finse. The last phenomenon which, accord-
would obviate us from having main unit scene was shot on ing to locals, and somewhat
to go out to Leeds.” Due to Monday, March 11, whereas frustratingly for the cast,
three avalanches that had cut the second unit faced further meant the arrival of spring.
STAR WARS: THE EMPIRE STRIKES BACK | 31
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08
THE SNOWTROOPERS - As
suggested by their name,
snowtroopers are Imperial
troopers whose armor has
been enhanced specifically to
endure extreme-cold weather.
First seen in The Empire Strikes
Back, snowtroopers are are
the first-ever Imperial soldiers
shown to have customized,
climate-specific gear. Their suits
and backpacks are designed to
maintain body warmth, while
their masks feature heaters to
help them breathe in the cold.
Both Ralph McQuarrie and Joe
Johnston came up with several
costume concepts, but only
Johnston’s were eventually
used for the final design. Whilst
McQuarrie’s version had a clear
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
Samurai flair (“It was a little
like something worn in Noh
dramas”, he said, referring to
the classical Japanese dance-
drama), Johnston envisioned
a relatively simple and plain
armor design.
Once approved by George
Lucas, the finalized design
was then passed onto costume
designer John Mollo, who was
also part of the production
team of A New Hope and had
just finished working on the
costumes for Ridley Scott’s A/ien.
To stay within budget, Mollo
further simplified the armor
and cut down the number of
snowtrooper costumes from
twenty to fifteen. The final
version was relatively similar
32 | STAR WARS: THE EMPIRE STRIKES BACK
to the standard stormtrooper;
the main differences were the
addition of a face cowl made
with layers of white PVC Vinyl,
an insulated cape, twill pants,
ice boots and soft gloves,
which were actually adapted
from gardening ones! Along
with the fifteen snowtroopers,
Mollo and his team created a
separate armor for the troops’
commander, which featured a
vacuum-formed shield in lieu of
the cowl and additions such as
a rank bar, a blaster pistol and
holster. To further distinguish
the commander, production
inverted the shoulder bell
orientation and opted for grey
moon boots in place of the snow
boots worn by the troops.
08 Imperial
snowtroopers assault
Echo Base on Hoth.
Their suit and backpack
systems are equipped
with lone-lastine
batteries that made
them able to endure
extreme temperatures
for up to two weeks.
09 Rebel snowspeeders
endeavor to slow down
relentless Imperial
walkers during the
Battle of Hoth. In order
to successfully operate
the mechanical lees,
AT-AT pilots had to
Undereo rigorous
training.
AT-AT WALKERS - All Terrain
Armored Transport Walkers
(more commonly known as
AT-ATs) were colossal, four-
legged army units used by the
Empire to attack the Rebellion’s
base during the Battle of Hoth.
Their impressive height (over
60 feet tall) and slow, relentless
movements made AT-ATs an
extremely daunting weapon
able to intimidate whoever
crossed their path. As explained
by director of photography
Dennis Muren, the AT-AT’s
concept was influenced by
the U.S. military armament
deployed in Vietnam. As such,
Johnston’s early sketches
featured tank-like vehicles
whose design, however, turned
out to be too “conventional”
for an alleged space machine.
Further inspiration came from
illustrations commissioned
to concept artist Syd Mead
for U.S. Steel promotional
materials: “It was a promo-
tional brochure put out by
U.S. Steel in the early 1960s,”
said Johnston, “and contained
a whole slew of full-color
paintings indicating, ‘What
steel will be used for in the
future.’ Interestingly enough,
one of the paintings showed
a four-legged walking truck!
That’s where the initial walker
idea came from.”
According to Lucas, AT-ATs
were ultimately influenced by
the spider-like vehicles featured
09
in H.G Well’s novel The War
of the Worlds. “The walkers
were inspired by War of the
Worlds more than anything
else,” Lucas said “where the
Martians walked in machines
like giant spiders. I was trying
to come up with a way of
making this battle different.”
To bring AT-ATs to life on
screen, Johnston and effects
director of photography Dennis
Muren persuaded Lucas to use
stop-motion, a filmmaking
technique in which objects
are maneuvered between
frames to create the illusion
of movement. The animation
process entails taking a picture
of a static object, moving it
in an almost unnoticeable
STAR WARS: THE EMPIRE STRIKES BACK | 33
10
tie
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el Fw 4
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a
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|
manner, and taking another
picture. Images are then played
back consecutively, making
the objects appear as if they
are moving on their own. “I'd
been a stop-motion animator
and cameraman in my past, so
I was real familiar with that,”
explained Muren. “And I just
thought we should do at least
that chunk of the film with
stop-motion, which was a
tried-and-true technique that
we could schedule and we could
get done—and if it looked a
little funky, it’s okay because
they’re machines anyway.” If
Muren and Johnston had a
pivotal role in defining how
the Imperial walkers would
eventually look, animator Jon
Berg was crucial in realizing a
fully functioning prototype.
“Tf there was one person
responsible for getting the
walkers on the screen, it was
Jon Berg,” Johnston would later
say. “He developed the entire
armature, working from just a
34 |
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
couple of my rough sketches.
And he managed to integrate
a lot of experimental ideas that
worked really well.” In order
to make a successful prototype,
several aspects had to be taken
into consideration. In Berg’s
own words, the model had to
be “poseable,” that is, capable
of holding a specific pose “in
each position you place it
without slipping or sliding.”
To achieve credible motion,
Berg based the walkers’ iconic
walk on a real-life elephant
that he filmed in early 1979
(the very same elephant, Mardij,
had been used for the bantha
in A New Hope). Overall,
preparation for the walker
scenes took around 10 months,
while a single shot took a whole
day to produce, with an average
of one second per hour. As
commented by stop-motion
technician Doug Beswick,
“the increments for the walker
movements were so small, they
could hardly be gauged!”
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ar 14
As for the noises, sound
effects recorder Randy Thom
researched metal fabricators
to find a convincing sound
for the vehicles’ motion.
Eventually, he recorded metal
shears, particularly useful for
their multisyllabic sound.
“The objective was to give the
walkers a real sense of mass
and weight,” explained sound
designer Ben Burtt. “Randy
went out and recorded some
of those big metallic stamping
machines. Then I picked out
parts of the recording I liked
and made it into a rhythmic
walk cycle.” Additionally,
Burtt needed a squeaking
sound similar to “a knee
joint,” which he successfully
achieved thanks to a dumpster
lid that had been left near
his house. @
10 Stop-motion and
special effects artist
Jon Bere brines an
AI-AT walker to life...
frame by frame.
11 Each shot animated in
stop-motion would take
around 4-6 hours of work
to be completed.
12 The pyro model
of the AI-Al—oversized
to properly scale the
fire and smoke-—was
held up by cables,
which detached and
made tt fall.
13 Stop-motion
technicians and
animators Tom St.
Amand, Uoue Beswick,
Jon Bere and Phil
Tippett with the
finalized walkers.
14 A walker prototype
developed by Jon Bere
and Joe Johnston.
13 An AT-AT walker
model ona set, in front of
a matte painting of Hoth.
To simulate snow, stage
technicians employed
tiny microballoons to be
sprinkled across the
miniature.
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16
16 Han Solo finds and
destroys the Imperial
probe droid on Hoth,
which ran on tracks
concealed inthe snow.
The rig, together with
the use of lone shots,
made the droid look like
as it was floating.
17 The (soon to be
called) Viper probe droid
arrived at ILM in August
1979. Alone with five
arms anda Dlaster,
Imperial probe droids
included a self-destruct
mechanism and
repulsorlift engines.
18 Visual effects
photoerapher Richard
Edlund poses witha
full-scale probe droid and
a smaller miniature.
36 | STAR WARS: THE EMPIRE STRIKES BACK
19 Rebel troopers
prepare to fire the
dish laser cannon
during the Imperial
attack on the ice planet
of Hoth. Despite the
Empire's victory over
the Rebel Alliance, Darth
Vader would fail to catch
Luke Skywalker.
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20 A snowtrooper
fires an E-Web heavy
repeating blaster, an
incredibly powerful
Imperial weapon.
21 After the rebel
power eenerators have
been destroyed,
snowtroopers ruthlessy
invade Echo Base.
22 Actor and
bodybuilder David
Prowse as Dark Lord of
the Sith, Darth Vader.
According to Prowse,
the armor was far from
comfortable: indeed, it
was made of quilted
leather and weighed
around 48 pounds. rad |
40 | STAR WARS: THE EMPIRE STRIKES BACK
yas
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23 Rebel soldiers carry
equipment and prepare
for the Imperial assault.
24 Apaintine of Hoth
used as the backeround
of a miniature set for the
AI-AT stop-motion
animation.
20 DF.9 turret
placement, concept art
by Raloh McQuarrie.
26 “Ice Cave” (reverse
view) by McQuarrie, May
10-11, 1978.
2/7 “Ice Cave”
(looking toward door)
by McQuarrie. An early
version of the tauntaun
can be spotted in the
backeround.
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28
28 A behind-the-scenes
photo of Mark Hamill
(Luke Skywalker)
manning a laser
ice-cutter at Echo Base.
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30 Rogue Two pilot Zev Senesca was played by actor Christopher Malcolm. 31 Youne pilot Wedee Antilles (played by Denis Lawson) flying as Rogue Three in
the battle of Hoth.
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aa a
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= a
film is inadequately capturing
the information of how he
moves and is causing these
blurs.” For the Norway shots,
the crew availed themselves
of two different tauntauns: a
full-body puppet and a ‘half’
one with just a head, neck and
back operated by technicians
during close-ups. To mimic
the animal’s steaming breath,
gas was channeled to the
tauntaun’s mouth through two
tubes. The final touch was made
by recording a sea otter called
Mota for the tauntaun’s voice.
STAR WARS: THE EMPIRE STRIKES BACK | 51
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THE WAMPA - With an average
height of 9 feet, a layer of woolly
white fur—perfect for snow
camouflage—large fangs and
pointed claws, it is no mystery
why wampas are the most
dreaded creatures on Hoth.
These huge, ruthless predators
are well known to tauntauns,
their main prey, and also to Luke
Skywalker, who is attacked by a
wampa while on patrol duties.
The ice creature was
originally supposed to be
called “penocha,” but its name
was Changed to “wampa” in
the second draft. Similarly
to tauntauns, the making of
the wampa entailed several
turnarounds and subsequent
difficulties. At first, the wampa
was impersonated by actor Des
Webb, who had to wear an
enormous costume for the Hoth
scenes shot in Norway. The suit,
made of real sheepskin and fur,
was extremely uncomfortable:
Webb had to walk on stilts and
would often fall after just a few
steps, and the heat inside the
costume was so unbearable that
the crew had to regularly feed air
to Webb through a tube
The full-scale costume was
soon discarded in favor of a
more functional puppet—made
of just a head and torso—which
was used to shoot the scene
where the wampa screams
right before attacking Luke.
Additionally, a puppet hand,
built by Tippett, was used in the
close-up where Luke is struck by
the wampa’s paw.
Several sequences involving
wampas did not make the final
cut. Amongst these, a scene in
which the wampa is seen inside
Echo Base in three different
moments: At first, its claws
appear through an ice wall while
Han Solo and Leia Organa are
quarreling not too far away;
then different wampas rampage
in a corridor and are shot down
by rebel troopers; finally,
a wampa captures a snowtrooper
who opens a door of the room
where the creature is Kept, after
C-3PO removed the warning
sign on it. According to the
Progress Report, these shots,
which required “the man inside
the monster suit” to wear the
costume for three hours straight,
weren’t good enough to make
the final version of the movie.
They would only be released on
Blu-ray, in 2011.
07 Hamill as Skywalker
inside the wampa’s lair.
After the scene had been
planned by Kershner, the
first unit team Filmed for
one day in the cave.
08 Tippett performs a
dental examination on
the wampa.
09 Bill Neil and Tippett
film the wampa against
a cloudy sky in the First
months of 1980 for the
scene in which the
wampa roars at
Luke on Hoth.
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10
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Lt
10 The cast of the
tauntaun model created
by Tippett. According to
him the only way to
make the tauntaun look
like a living creature
was with a small model,
using stop-motion
and motion-control
techniques combined.
11 Tauntaun and rider.
The ILM crew useda
fellow crew member
dressed as a tauntaun,
runnine through the
hanear for reference.
12 To keep Luke
warm while they wait
for help, Han stuffs him
inside the innards of a
dead tauntaun. This
was, accordine to
Kershner, an old Native
American trick.
13 Han and his tauntaun
in the midst of a snow
storm. As he wasnt
formally enlisted in the
Rebel Alliance, Solo didn’t
wear the rebels’ uniform. 12
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13
STAR WARS: THE EMPIRE STRIKES BACK | 55
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Wild,
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
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14 Astop-motion
puppet of Luke
Skywalker atop his
tauntaun ina
snowstorm.
15 Tippett with a tiny
model of the tauntaun,
which was cast ina
flexible material so that
it'd be easy to work with.
16 Dennis Muren, Phil
Tippett and matte artist
Mike Panerazio pose
between two of
Panerazio’s paintings.
i
=
STAR WARS: THE EMPIRE STRIKES BACK | 57
17 A close-up of
Luke Skywalker on
his tauntaun moments
before the wampa
attacks him. Accordine
to art director Alan
Tomkins , “The biggest
problem with the
tauntaun was the actual
weieht of the skin and
the size of the head.”
18
60
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
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STAR WARS: THE EMPIRE STRIKES BACK
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18 Han and Leiarun
towards the full-sized
Falcon on the Star Wars
Stage, which was used
for the rebel hanear set
and the Dagobah set.
19 “Don't lose your
temper!” Upon entering
the hanear, Solo is
prompted by a rather
irritated Chewbacca to
help him operate a
fusioncutter atop the
Millennium Falcon.
20 The original prop of
the Falcon built for the
first Film was no loneer
usable, so anew one-a
full-size model this
time-—was manufactured
in Pembrokshire, Wales.
It was approximately 80
feet lone.
21 The cockpit set
proved particularly
stressful for actors.
As explained by Kurtz,
“It was very close
quarters to start with
anda lot had to go on in
there. And some of the
action as written was
very difficult to actually
perform in the confines
of the cockpit.”
STAR WARS: THE EMPIRE STRIKES BACK
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STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE PLANETS
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23
23 Thesmallest
Millennium Falcon
model ever created was
specifically built for The
Empire Strikes Back. Tiny
enough to fit in the palm
of ahand, the model was
used for a scene where
the Fa/con docks against
the outside of a Star
Destroyer.
24 Chief model maker
Michael Fulmer workine
ona 24-inch model of
the Falcon.
29 ILM model makers
Ease Qwyeune and
Michael Fulmer add
ereebles (fine details) to
a 32-inch version of a
Millennium Falcon model.
62 | STAR WARS: THE EMPIRE STRIKES BACK
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22 The Millennium
Falcon in the dockine
bay of the rebel base
on Hoth. Concept art
by McQuarrie.
; 4 gill =
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PROBLEMS ON SET - In early
July 1979, upon completion
of the Millennium Falcon
sequences, the construction
and art departments resumed
building the bog planet set
on the Star Wars Stage. Due
to budgetary reasons, they
had to construct Dagobah
in half the time originally
scheduled—that is seven weeks
instead of fourteen—and the
crew had to work at night
and over weekends. To further
optimize the time left, Lucas
rewrote the storyboards and
got down to a number of
shots which could actually be
completed within that specific
time frame; as a result, several
scenes had to be shortened
and reworked. The bog set
was particularly challenging
in terms of both design and
physical development, and
was still in the making while
filming started: “We had to start
in the back corner with some
of the smaller scenes and work
our way Out to the tank part
where the lake was,” explained
Gary Kurtz, vice president of
production on Star Wars.
The bog planet was
specifically designed to resemble
a real-life location: “The ground
was real earth, real mud, real
water... It was extremely muddy
and we used a lot of smoke
for fog and mist,” recounted
associate producer Robert
Watts. “We had a real river
running, with real animals and
everything,” added Kurtz. “We
had a lot of snakes—and some
of them got away and started
inhabiting the set. Birds flew
through the doors of the sound
stage and, because of the grass
and dirt that was brought in, we
had bugs and spiders and things.
It became a real place.”
Gulls, terns, sea lions and
dolphins, amongst the others,
were recorded for the bog’s
wildlife. Similarly to humans,
some animals were quite drained
by the hard work on the bog set.
On one occasion, whilst filming
the ‘Yoda’s revelation’ scene, a
snake nipped Hamill, perhaps as
a protest to the numerous takes
they had to go through. Indeed,
the set itself was so tricky and
80 | STAR WARS: THE EMPIRE STRIKES BACK
technically challenging that
filming a few seconds would
sometimes take a whole day or
more—an example is the scene
where the Jedi Master uses the
Force to lift Luke’s X-wing out
of the swamp.
Despite everyone doing
their best, Kershner wasn’t
fully satisfied with his own
work: “The bog planet is an
extraordinarily difficult set,”
he admitted. “The terrible
thing is, here is this expensive,
really quite almost insanely
expensive picture, and yet I
have to compromise all the way
down the line... I’m sure that
the audience won’t know the
difference, but in my eyes, it’s
quite different.”
Physically exhausted, the
crew Officially finished filming
Empire on the afternoon of
September 24, 1979, with an
insert of Luke on Hoth and a
scene in the swamps of the bog
planet. But matte paintings,
visual effects, sound effects, and
stop-motion flying creatures
still had to be added to make
Dagobah come to life. @
08 R2-D2 peeps through
a window of Yoda’s hut.
Conceived by Kershner,
this is one of Lucas
favorite moments in
the film.
09 To shoot Darth
Vader’s “unmaskine”
in Dagobah’'s cave
sequence, a mold of
Mark Hamill’s head was
originally considered-it
was, however, soon
discarded in favor of
Hamill’s real head. The
shot was in fact achieved
with Hamill’s face
poppine out of a hole in
the stage floor as he
stood below It.
10 After several weeks
of filming, the boe
swamp had become
quite filthy. “I have to
Say, you wouldn't want to
fallin that pool,” said
production designer
Norman Reynolds. Of
course, at least one
crew member fell in.
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of the Jedi (1983),
and then reprised
the role of Palpatine
in the prequel
trilogy (1999-2005)
and /he Rise of
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STAR WARS: THE EMPIRE STRIKES BACK | 85
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THE VILLAIN
03
In the script, the Emperor is
presented as the counterpart to
hero Luke Skywalker’s mentor,
Obi-Wan Kenobi, and is
depicted as someone even more
frightful than Darth Vader:
“The Emperor’s dark robes and
monk’s hood are reminiscent of
the cloak worn by Ben Kenobi.
His voice is even deeper and
more frightening than Vader’s.”
THE SET — The appearance of
the Emperor meant another
problem to solve: What would
he look like under his hood?
Lucas opted for the face
of a woman, the character
actress Marjorie Eaton (1901-
1986), with the gaunt visage,
prominent nose and high
cheekbones. She wore a mask
sculpted by Phil Tippett. In test
runs, the mask was initially
applied by makeup artist Rick
Baker to his wife Elaine’s face.
The eyes of a chimpanzee
were later superimposed in
the shadow of the hood, after
having experimented with
a cat’s eyes and the eyes of
assistant accountant Laura
Crockett. The chimp’s eyes
and the Emperor’s face were
combined using a split-beam
technique and a mirror. The
voice would be that of actor
Clive Revill. Unfortunately,
Marjoire Eaton received no
screen credit for her role. The
hologram was added during
post-production in the huge
room where Darth Vader had
made his bow before nothing
during filming. As effects
specialist Ken Ralston explains,
oon" ide, &
“To make the hologram of the
Emperor, we shot an actor in
makeup with the eyes blacked
out. We wound up shooting
the eyes of a chimpanzee, then
matchmoving the eyes of the
actor and rephotographing it
from a TV screen. Actually, that
was true of all the hologram
shots.” The Emperor character
would go on to become a central
focus of the entire saga, and that
began with those few seconds
in The Empire Strikes Back. In
Return of the Jedi the Emperor
was portrayed by the British
actor lan McDiarmid for the
first time. McDiarmid returned
in the role of Palpatine in The
Phantom Menace, Attack of the
Clones, Revenge of the Sith, and
The Rise of Skywalker. As for the
Emperor’s brief appearance in
03 The Emperor’s fleet
in pursuit of the rebels
ina composite image.
The huge Star Destroyer
model posed with some
other models, most
notably the one for the
Millennium Falcon, in
front of a blue screen.
04 Special effects
Supervisor Brian
Johnson posine with the
massive 10-foot Star
Destroyer model. A new
version of these massive
ships would later appear
in the saga, includine in
Return of the Jedi, alone
with the resurrected
Emperor.
05 Chief model maker
Lorne Peterson and art
director Joe Johnston
looking at the work in
proeress of the Star
Destroyer’s control
tower.
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7
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06
88
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| 07
06 Effects cameraman
Ken Ralston moving a
battle-damaged Tie
Fiehter. Dennis Muren,
effects director of
photoeraphy, said about
him, “His maneuvering
of the TIE fiehter and
the Fa/con show his
ereat understanding of
the need for timing,
motion, and life within
the shot.”
O07 The TIE bomber,
which debuted in /he
Empire Strikes Back, \s
one of the many
variations of TIE
starfiehters in the
Imperial Navy. While
most are known for their
speed and agility, this
one Is known for its
powerful ordnance.
08 For The Empire
Strikes Back, the model
department prepared
several TIE fighters and
those ships are featured
extensively in the movie.
The Empire Strikes Back, Eaton’s
face was digitally replaced by
that of McDiarmid for the
2004 DVD release. That version
included new dialogue featuring
the voices of Ian McDiarmid,
replacing that of Clive Revill,
y
and James Earl Jones, who
voiced Darth Vader. Re-shoots
were done during filming for
Revenge of the Sith. Over the
years, Star Wars fans would
come to learn and fear the name
Palpatine, they would follow
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE VILLAIN
his devious exploits as both
Senator and Supreme Chancellor
Palpatine, and would wind up
mesmerized by his return and
the many revelations he would
bring with him in The Rise
of Skywalker. @
STAR WARS: THE EMPIRE STRIKES BACK _ |
89
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE VILLAIN
09 Jeremy Bulloch
(on the right), the
man under the helmet
of Boba Fett, also
portrayed Lieutenant
Scheckil.
10 Kenneth Colley
plays Admiral Piett.
He replaces Kendal
Qzzel when he’s
punished by Vader.
11 Michael Sheard
plays Admiral Kendal
Ozzel, who was the
commandine officer
of the Executor.
12 “Apoloey accepted,
Captain Needa.” Darth
Vader (David Prowse)
stands over the body of
the inept Lorth Needa
(Michael Culver). Vader
straneled Needa after
he let the Mi/lennium
Falcon escape.
90 | STAR WARS: THE EMPIRE STRIKES BACK
Bs
STAR WARS: THE EMPIRE STRIKES BACK
13/14 Concepts by
Ralph McQuarrie for
the bridge of the Super
Star Destroyer Executor,
Darth Vader’s command
ship.
15 In this unfinished
shot, the final result
of the bridee of the
Executor \s darker
than in the concept
by McQuarrie.
16 A model maker
caught by the camera
while adding the Final
touches to the Super
Star Destroyer,
the Executor.
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
.
THE BOUNTY HUNTER
W=H=V SOOAVY S=LVAL VIZ
94
BOBA FET IL
Gathering aboard the Super Star Destroyer, the Executor,
at the behest of Darth Vader are some of the galaxy’s most
feared bounty hunters. Offering a generous reward for whoever
finds the Millennium Falcon and its crew, Vader singles out one of
the motley bunch, and issues the directive, “I want them alive.
No disintegrations...” ‘Ihe helmeted warrior is Boba Fett,
HE ORIGIN
— Despite
Ty having very
few lines of
dialogue, and
without ever
having his name mentioned
during the movie, aside from
a deleted scene where Leia is
tending Luke’s wounds and she
says Han has been captured
by “a bounty hunter named
Boba Fett,” the character has
ig
remained one of the most
popular characters among fans
of Star Wars since first appearing
in The Empire Strikes Back. And
since that debut, few characters
have generated the kind of fan
dedication and inspired the
amount of stories that Boba Fett
has. For decades fans speculated
as to his origins, at least until
Attack of the Clones (2002). And
to think that initially he had
been no more than a work-in-
sgsegn
[=
-y
7; !
Gregan
who coolly rephes: “As you wish.”
progress version of Darth Vader.
“There were quite a few films
made about bounty hunters
in the Old West,” said George
Lucas, “that’s where that came
from. When I was writing the
early scripts for Star Wars, |
wanted to develop an essentially
evil character that was fright-
ening. Darth Vader started as
a kind of intergalactic bounty
hunter in a space suit and
evolved into a more grotesque
Ol The lineup of bounty hunters aboard Darth Vader’s command ship included a humanoid, Denear; an assassin droid, IG-88; Boba
Fett; a Irandoshan, Bossk; a protocol-droid-turned-mercenary 4-LOM; and a Gand, Zuckuss. In the script, reptile-looking Bossk was
originally described as “a slimy, tentacled monster with two huge, bloodshot eyes in a soft bagey face”.
STAR WARS: THE EMPIRE STRIKES BACK
O02 A prototype of Boba
Fett’s outfit. In addition
to armor and other
necessary gear, it Is
also adorned with what
looks to be braids of
hair, which have been
described in the past as
beloneing to Wookiees
he has defeated.
knight as I got more into knights
and the codes of everything.
He became more of a Dark
Lord than a mercenary bounty
hunter. The Boba Fett character
is really an early version of
Darth Vader. He is also very
much like the man-with-no-
name from the Sergio Leone
Westerns.” Indeed, Boba Fett
would retain the quiet attitude
and the cloak reminiscent of the
legendary character played by
Clint Eastwood. Other elements
of the character’s iconic look
date back to concepts that
had been previously scrapped.
Several touches were added to
his helmet, taken from Ralph
McQuarrie’s 1975 sketches. To
a certain degree, that helmet
recalled a samurai mask, and
some parts, like the chin and
the mouth, were later used for
Darth Vader’s mask. Together,
his costume and helmet also
take inspiration from an elite
caste of stormtroopers. These
Super-stormtroopers were better
equipped and more thoroughly
prepared for combat than
03 Boba Fett’s helmet | |
was an evolution of an | \
Unused concept.
Originally, he was goine
to be part of a eroup of
supertroopers, or
super-stormtroopers,
who would be dressed in
all-white armor.
> = Ss Ai) i ,
i)
04 Visual effects art
director Joe Johnston
defining the details on
Boba Fett’s helmet.
04
96 | STAR WARS: THE EMPIRE STRIKES BACK
Q5
regular soldiers. Their armor
was all-white, their helmets
were slightly different. Another
version of Boba Fett may be seen
in Prince Valorum, Black Knight
of the Sith, who appeared in
Lucas’ first draft for Star Wars as
one of Darth Vader’s henchmen,
who was sent out to capture
rebels. In March 1978, all these
ideas were blended together by
George Lucas, Ralph McQuarrie,
and Joe Johnston, to create the
bounty hunter we know. Boba
Fett was a “real villain”, who
would sell his services to the
highest bidder, like Bossk, IG-88
and the other bad guys who
appeared alongside Darth Vader.
BEHIND THE MASK - Boba
Fett’s famed armor was painted
by Johnston, based on a precise
idea: “It was a symmetrical
design, but I painted it in
such a way that it looked like
he had scavenged parts and
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
done some personalizing of his
costume; he had little trophies
hanging from his belt, little
braids of hair, almost like a
collection of scalps.” Once the
armor was ready, it was tried
out by Duwayne Dunham,
assistant film editor for The
Empire Strikes Back and Return
of the Jedi. It also included a
flamethrower built by Industrial
Light & Magic, which, on its first
test run, leaked and wound up
scorching Dunham. The CO2
cannister inside the backpack
did work though. At any rate,
the idea of the flamethrower
would resurface later on. Thirty-
five-year-old Jeremy Bulloch,
associate producer Robert Watts’
half-brother, was called in to
play Boba Fett.
“Trang him up and said, ‘If
the suit fits, the part’s yours,’”
explained Watts. Bulloch got
the part. For each round of
shooting it took him 20 minutes
06
05 The infamous Boba
Fett flamethrower,
which burnt assistant
film editor Duwayne
Dunham while tryine
the costume.
06 Boba Fett’s cape
was based on Clint
Eastwood's western
hero, the Man With
No Name.
THE BOUNTY HUNTER
(by
to put on his costume. In the
beginning he was bewildered by
all the suit’s gadgets and working
parts: “There was an odd sort
of Wookiee scalp hanging from
my shoulder, which I originally
put under my helmet because
I thought it was some kind of
hairpiece!” But Bulloch would
not be the only one to wear Boba
Fett’s costume, as two more actors
would also be playing the role.
John Morton donned the armor
in several scenes on Bespin, and
in a few scenes of Return of the
Jedi stuntman Dickey Beer filled
in. Ten years later, Mark Austin
STAR WARS: THE EMPIRE STRIKES BACK | 97
07
07 Boba Fett’s ship,
Slave I, was originally
based ona radar dish,
according to assistant art
director Nilo Rodis-
Jamero, “For some
reason, when I drew it,
Georee Lucas thought it
was elliptical, so that’s
what it became.”
08 Chief model maker
Lorne Peterson and model
maker Ease Owyeune
working on a model of
Slave I, built to be used
with the blue screen.
09 Harrison Ellenshaw
working ona matte
paintine of Boba Fett’s
ship, Slave I. It was
included in the Cloud
City scenes.
and Don Bies shared the role of
Boba Fett in additional footage
for the Special Edition re-releases.
In post-production for The
Empire Strikes Back, Bulloch’s
lines were dubbed by deep-voiced
Jason Wingreen. And when
the link between Boba and his
“father” Jango Fett, whom he had
been cloned from, was revealed,
Temeura Morrison dubbed
over Wingreen’s voice work to
underscore the connection.
All Boba Fett needed to make
him even more independent was
a ship all of his own. Assistant
art director Nilo Rodis-Jamero,
who had already designed the
98 | STAR WARS: THE EMPIRE STRIKES BACK
Super Star Destroyer Executor,
conceived what would become
known as Slave I, Boba Fett’s
attack craft, different from
anything seen up till then. Not
much more was shown in The
Empire Strikes Back and fans
would have to wait decades to
learn more about the bounty
hunter, such as: the fact that
he is a clone, the origins of
his Mandalorian armor, his
connection with Han Solo, and
the trauma he suffered after
Jango was killed by Mace Windu.
THE APPEARANCES - Actually,
The Empire Strikes Back did
not mark the character’s first
appearance. As many fans
know, Boba Fett first appeared
in animated form, in a sequence
of the 1978 Star Wars Holiday
Special. To be precise, not even
that bizarre occasion, where
he is armed with a lance and
wearing a blue helmet, was
a true first. On September
24, 1978 Boba Fett appeared
in the flesh alongside Darth
Vader at the annual Country
Fair Parade in San Anselmo,
California, in Marin County, 20
miles north of San Francisco.
Since 1971 the first Lucasfilm
headquarters had been located
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE BOUNTY HUNTER
STAR WARS: THE EMPIRE STRIKES BACK | 99
in the small city, at 52 Park
Way. Lucasfilm wanted to pay
tribute to the town it called
home by including the most
famous Star Wars characters in
the parade. Duwayne Dunham,
who’d been burned by the leaky
flamethrower, wore Boba Fett’s
armor that day. At the time
of the accident, the suit was
just a prototype and missing
a few details. Duwayne had
been chosen at the last minute
because it fit him. “What I
remember about that day,”
he later recalled on StarWars.
com, “is, it was incredibly hot.
I’m not just talking about the
suit, I’m saying that day in San
THE BOUNTY HUNTER
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
Anselmo was really hot. It could
have been 100 degrees. I think
we were at the head of the
parade. And Vader, he stands
out. I don’t know what people
thought of me. Nobody knew
about Boba Fett at that point!”
Almost at the same time, the
team at Kenner who created
Star Wars action figures had
been pushing for new characters
when they found out that the
sequel to the original Star Wars
wouldn’t be coming out for
another couple years. One of
the characters they decided
to develop during that time
was Boba Fett. The first figure
would be available as a mail-
100 | STAR WARS: THE EMPIRE STRIKES BACK
order item, available to kids
months before the toy would
hit store shelves. The prototype
included a rocket that could be
fired from the bounty hunter’s
backpack. But that extra was
dropped for safety reasons. In
the final version of the Boba
Fett action figure, the rocket
is incorporated and cannot
be fired. As for the prototype,
which was never marketed
to the public, it is estimated
that less than 30 remain in
existence today. It is considered
one of the rarest toys ever, and
according to some estimates,
this 3.75-inch piece of plastic is
worth around $250,000. @
10 Lando Calrissian ts
finally getting a “bad
feeling” about Darth
Vader and Fett! In this
scene, the walls of the
corridor have been
painted from white to
red-brown, in order to
show different rooms
using the same set.
11 In Ralph McQuarrie’s
concept for the Cloud
City prison, Boba Fett
(right) is still wearine
white armor.
12 Boba Fett escorting
the defeated Han Solo.
The Cloud City guards
behind him are Quentin
Pierre (left) and Alan
Harris (right). Harris
played several minor
roles in the saga,
Including Bossk.
101
THE BOUNTY HUNTER
STAR WARS: THE EMPIRE STRIKES BACK |
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— . : , | Ls, ' second floor and evena
af ' 7 small vibration would
io ruin hours of work.
Ty o.
Tb , 4 > : : 10 The landing on Cloud
| J a | — , City was avery difficult
| a / _ =; scene to film, combining
r . ad | i , several tecniques. It’s
one of the ereatest
achivements of the aptly
named “Nieht Crew.”
if
if
10
STAR WARS: THE EMPIRE STRIKES BACK | 113
ml
ge
complicated, the scenes in
Cloud City take place at different
times of day, which meant that
different backgrounds had to
be used, with varying shades
of colors. As Ellenshaw tells us,
“Typical of George was his very
clever concept of showing the
passage of time in Cloud City by
going from sunrise to daylight,
when Luke arrives, to sunset,
when the Millennium Falcon
leaves.” A truly titanic endeavor,
if one also considers that the
special effects people wound
up working day and night to
meet their deadlines—thus the
birth of the legendary Star Wars
“Night Crew.” All that effort still
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
revolved around what Lucas
—and Ralph McQuarrie—had
envisioned. “Ralph kept saying
to me, ‘I don’t want to know
anything about how things
work around here, I just want
to paint,” recalls Ellenshaw.
“And I said, ‘Fine, you paint.
Any shot you want to start, you
do it and let me worry about
making it work.”
In the first draft of The
Empire Strikes Back script, Lando
greets Han and his cohorts in
the company of an alien, known
as Bahiri. He was supposed to
have been the leader of the
native populace of Bespin—tall
beings with large eyes, devoid
of noses as we know them,
and, in keeping with several
preliminary sketches done
by McQuarrie, having four
arms. They would have been
creatures much different from
the coarse, short Bespinites
that would come to be known
as the Ugnaughts. Also in the
first draft, it was supposed to
be the killing of Bahiri at the
hands of stormtroopers that
convinced Lando to change
sides. After a few modifications,
that character was transformed
into a male human, who, after
Lando, would be Cloud City’s
most notable personage, the
loyal and laconic Lobot. Listed
w
11 Time to relax in
Bespin. Lela wears a
white and red-brown
dress, apresent from
her host. She has no idea
Darth Vader is at the
same location...
THE PLANETS
12 The Cloud City living
quarters scene was
filmed by Kershner in
late April, 1979. The
original dialogue
between Leia and Han
had been revised by the
director and the actors
many times before
shooting.
STAR WARS: THE EMPIRE STRIKES BACK | 115
ne
3
116
THE PLANETS
in the closing credits only as
“Lando’s Aide,” he was played
by the famed character actor
with a penetrating gaze, John
Hollis, who had been active
in movie and TV roles since
the 1960s. Another version
of Lando’s aide had also been
included since the early drafts
of the script, and in several
production paintings was
depicted as a tall woman with
a gentle bearing and dark skin.
STAR WARS: THE EMPIRE STRIKES BACK
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
That character would later be
modified to become a cyborg,
and Hollis was chosen for the
part. His shaved head was fitted
with a cybernetic implant
prop, complete with batteries
that powered its lights—it was
heavy and uncomfortable to
wear, according to Hollis. At
first, he was only scheduled to
take part in one week’s worth
of shooting, but because of
the film’s extended shooting
schedule he remained a fixture
on the set for ten weeks.
The name Lobot is short for
“Lobotomy,” which may give us
some clue as to the character’s
backstory. Up until the fifth
draft of the script he had at
least one spoken line, but it
was decided that he would not
speak a word in The Empire
Strikes Back. Lobot was perfectly
able to speak, however, as seen
in other storytelling. @
13 A destroyed C-3P0 Is
taken by Chewie to the
big panoramic room,
Interrupting Han and
Leia. Amoment later,
Lando will join them.
14 The mechanics of
Bespin, the Uenauents,
were originally called
“Hoemen.” In this scene,
the prop for assassin
droid IG-88, whose only
other scene is on the
deck of Darth Vader's
flagship, was reused and
appears behind
Chewbacca.
15 Actor John Hollis ts
Lobot, Lando’s aide. The
liohts on his headpiece
were powered by
common batteries.
STAR WARS: THE EMPIRE STRIKES BACK | 117
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE PLANETS
17
16 Carrie Fisher and
Peter Mayhew runnine
from Imperial
stormtroopers in the
corridors of Cloud City.
17 Darth Vader poses
with stormtroopers and
an Imperial guard on
Stage 2. This photo was
taken between the
scenes filmed on July 6,
1979.
18 After receivine
direction from second
assistant director Roy
Button, Prowse and
Ford film the dark and
Intense torture scene
in Cloud City.
> Ji
try
19>.
18 is
’
asus veett
MTT ssi
STAR WARS: THE EMPIRE STRIKES BACK | 119
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a4)
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120 | STAR WARS: THE EMPIRE STRIKES BACK
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE PLANETS
19 White protocol
droid K-3PO (left, played
by actor Chris Parsons)
was manufactured by
Cybot Galactica. On Hoth,
he had the task of
oreanizine the Echo
Base droidpool.
20 Anthony Daniels on
the Millennium Falcon
cockpit set wearine part
of his C-3P0 costume-
which assistant art
director Fred Hole and
his team worked to make
more flexible than it was
In the First film.
21 Han Solo puts his
hand over C-3PO0'’s
mouth durine reharsals.
In the Final shot, Han
uses the other hand and
wears his Hoth jacket.
22 Actor Anthony
Daniels poses with
the C-3P0 costume.
This version had 11 parts
and was lighter than the
one used in Star Wars,
which had 20 parts.
STAR WARS: THE EMPIRE STRIKES BACK | 121
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122
i
7
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4
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE PLANETS
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. " -
iJ aa :
—
STAR WARS: THE EMPIRE STRIKES BACK
23 Special effects artist
Brian Johnson and his
team built eight new
R2-D2 models for The
Empire Strikes Back.
Amone these, two were
remote controlled, two
were used by actor
Kenny Baker, one was
used for experimentation.
24 Made of fiberelass
Instead of aluminum, the
new R2-D2 models were
liehter than the one used
In the first film and could
be easily lifted, carried,
or fired by a pneumatic
cannon.
29 Luke Skywalker
(Mark Hamill), wearine
his rebel flight suit, and
R2-D2 on the campsite
set up on Dagobah,
waiting to meet the
legendary Jedi master
Yoda.
26 One of the R2-D2
models built for the Film
could be submereed in
water, anecessary
feature because of a
scene in which the droid
IS spat out by a boe
creature on Dagobah.
Part of the scene was
shot at the beeinnine of
1980, in Georee Lucas’
unfinished swimmine
pool since the original
set was not deep enoueh.
oe
124
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
SCENES
W=VI NEEVIAVIN
“Tl KNOW”
Right before Han, Leia, C-3PO, and Chewbacca arrive on Cloud City to have
the Millennium talcon’s hyperdrive repaired, the Imperials reach the mining
colony with a demand. ‘lo protect the independence of his facility, and his life,
Lando Calrissian has no choice but to give in. Betrayed by his old friend, whom
he actually never trusted 1n the first place, Solo 1s therefore tortured in order to
lure Luke Skywalker into a trap and later frozen in carbonite as a test—because
Darth Vader wants to be sure that when it’s Luke’s turn, he won't be killed.
It’s the darkest moment for the rebels, but for Leia and Han it’s also the most
emotional, the culmination of their love story.
HE ORIGIN -
As he stated in
Ty a 1977 story
conference,
George Lucas
was planning
to develop the romantic
connection between Leia, Han,
and Luke in the sequel to Star
Wars: “Han would state his
position, sulks off. It should
be very mature in the way it
works. It’s not until later that
we realize that Leia doesn’t
i
MEL
=
=
—
=
=
=
—=
=
——
=
=
STAR WARS: THE EMPIRE STRIKES BACK
love Luke. It has got to be a real
triangle with real emotions; at
the same time, it has to end
up with good will. Luke has
gone off to learn the Force and
the ongoing story continues
with Leia and Han. The Empire
continues to chase them.
We keep them in a constant
danger situation.” Looking for a
traditional and effective way to
set up the relationship between
his heroes, Lucas thought about
Gone with the Wind (1939) and
initially visualized Han as Rhett
Butler, Leia as Scarlett O’Hara,
and Luke as Ashley Wilkes.
Taking inspiration from the
well-known characters played
by Clark Gable and Vivien
Leigh, all the drafts focused
on the tension between the
princess and the smuggler,
creating an equally iconic
couple. In the second draft, for
example, when the two argue
about Solo leaving because of
his debt with Jabba the Hutt, he
| Ol
=
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2
PRERBE BARB AL
tells her: “They say I kiss very
well. But don’t worry, I’m not
going to kiss you here—you
see, I’m quite selfish about my
pleasures and it wouldn’t be
much fun for me now.” The
scene remained in the following
drafts, but the line was changed
to: “Afraid I was going to leave
without giving you a goodbye
kiss?” To which Leia replies: “I’d
just as soon kiss a Wookiee.”
In another scene featured in
the second draft, Leia and Han
exchange their first kiss aboard
the Millennium Falcon. This
scene as well made it to the
final script and was shot, but
not exactly as planned, due to
the director’s improvisation on
set: in the script, Leia moves
away from Solo; in the film, it’s
C-3PO who interrupts them. “I
think he’s rather disconcerted
throughout the film that
he’s not human,” said actor
Anthony Daniels (C-3PO).
“He doesn’t quite understand
what kissing is because if there’s
one thing a robot isn’t into
it’s kissing.” It’s only on Cloud
City that the two really express
their feelings for each other,
but, once again, it was the set
that established how this
would happen.
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
SLENES
01 “Sir, sir! I’ve isolated
the reverse power flux
coupline!” C-3P0
interrupts the couple in
an ad-libbed moment.
This was the very first
Empire scene for
Anthony Daniels
(C-3PQ) and Carrie
Fisher (Leia).
O02 Thefirst kiss
between Lela and Han,
aboard the Mi/lennium
Falcon, shot on March
14,1979.
STAR WARS: THE EMPIRE STRIKES BACK | 125
04
THE SET — On June, 18, 1979,
Irvin Kershner, the cast, and
the rest of the crew were
shooting the carbon freezing
chamber scene. It wasn’t the
easiest set to work on. Built
inside Stage 4 at the Elstree
Studios, England, 12 feet above
the ground, it was completely
filled with steam, “which
made it photographically very
impressive, but physically
very uncomfortable” as
director of photography Peter
Suschitzky described it. Besides,
dozens of arc lights raised
the temperature. Story-wise it
was also a tense moment for
Princess Leia and Chewbacca
who had to watch Han being
frozen in carbonite before their
eyes. In Kasdan’s final draft,
after one last kiss, Leia was
supposed to say to Han:
“T love you. I couldn’t tell you
before, but it’s true.” And he
was supposed to reply: “Just
remember that, ’cause I’ll be
back.” Kershner, though, was
not sure about the dialogue
and discussed it in detail with
Harrison Ford (Han Solo).
Helping the director explore
Han’s personality, Ford came up
with a different line: “Yeah, I
126
STAR WARS: THE EMPIRE STRIKES BACK
know. Don’t worry, I’ll be back.”
Then, as the conversation went
on, the actor realized what his
character should’ve said. As
we know from a live recording
of that day, Ford’s exact words
were: “If she says, ‘I love you,’
and I say, ‘I know,’ it’s beautiful
and it’s acceptable and it’s
funny.” The change worked.
As actress Carrie Fisher recalled
later, the cast and crew laughed
for about 15 minutes watching
the dailies. “It works because
they actually can make the
transition from that laugh into
the fact that it is something
very sad.”
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
SLENES
03 Anon-set photo
of Han and Lela’s
eoodbye Kiss.
04 Enterine the
carbon-freezine
chamber, Solo asks
Lando: “What’s eoine
on... buddy?” ina
derogatory way. Lando
replies: “You're being
put into carbon freeze.”
These lines were also
decided by Kershner
and Ford while they
were discussing the
scene: inthe script,
Lando didn't say
anythine, but they felt
he had to contribute to
the moment somehow,
and Williams agreed.
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05 Scene number
3/79, Han Solo put in
carbonite, was shot on
June 21,1979, after
many rewrites and
rehearsals.
TS
06 Han Solo’s face
frozen in carbonite was
modeled on Harrison
Ford's actual face, while
Alan Harris (who played
Bossk) contributed
to Han’s body. The
two parts were later
combined to complete
the fieure.
STAR WARS: THE EMPIRE STRIKES BACK | 127
i @ STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
SCENES
%
128 | STAR WARS: THE EMPIRE STRIKES BACK
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL ot )
SLENES
O7 Ford’s contribution
to scene 3/9 was
essential. As Kershner
commented: “Harrison
isavery fine actor, I
regarded that scene as
entirely his, which ts
why I eave him so much
opportunity to tell me
how he thoueht we
should treat it.”
STAR WARS: THE EMPIRE STRIKES BACK | 129
bbe
SCENES
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
W=VI NEIVIAVIN
“LAM YOUR
FATHER”
After having a vision of Han Solo and Leia in extreme danger, Luke Skywalker
decides to leave Dagobah and go save his friends. Yoda succeeds 1n dissuading
him, but not for long, and soon the young apprentice takes off aboard his
X-wing, headed for the trap set by Darth Vader. Once Luke reaches Cloud
City, he finds himself in front of his worst enemy. ‘Ihe ensuing confrontation 1s
the very first lightsaber duel between the two, as well as the encounter that will
forever change the course of their lives. keaturing what 1s one of the biggest
revelations—and most misquoted lines! —in cinema history, the scene sheds
light on Luke Skywalker’s parentage; however, not many people know that
Luke wasn’t the only one groping in the dark...
HE SEQUENCE
— The duel
begins in the
T
chamber on
Cloud City.
The dark lord greets the boy
reminding him that, despite the
Force being strong with him, he
has yet to become a Jedi. Luke
replies by drawing his lightsaber,
thus opening the duel. During
the battle, Vader manages to
drive Skywalker towards the
carbon freezing pit, into which
carbon-freezing
he falls. The attempt to freeze
his opponent, however, fails as
Yoda’s apprentice uses the Force
to burst out. Still fighting, Luke
and the Sith Lord end up in the
reactor shaft, where Vader traps
his opponent on a catwalk from
which he cannot escape. There,
he cuts off Luke’s right hand,
thus disarming him. Before
seemingly swinging his death
blow, Darth Vader prompts
Skywalker to join the dark side
and complete the training under
his guidance. Though helpless
and severely injured, the boy
declines and angrily accuses
the Sith Lord of having killed
his father. That’s when Vader
reveals the truth to Luke
Skywalker: he is Luke’s father
(but it isn’t until Return of the
Jedi that the audience learns his
true name: Anakin Skywalker).
Refusing to believe it and yet
sensing that Vader is telling
the truth, Luke lets himself fall
into the air shaft below him,
choosing the void over the
dark side.
O01 The duel between
Luke and Darth Vader
starts in the smoke-
Filled chamber where
Han had previously been
frozen in carbonite.
Instead of David Prowse
in the Vader costume,
there was experienced
sword master Bob
Anderson who acted
opposite Mark Hamill
during the scene. Durine
his career, Anderson had
also worked aloneside
legends Errol Flynn and
Douglas Fairbanks.
130 |
STAR WARS: THE EMPIRE STRIKES BACK
O02 The action moves
Inside the reactor
control room set. As
stunt coordinator Peter
B)F-Vanveyatem m=xer-]i(-2ep
“When we were inthe
reactor room, with
pieces of machinery
being thrown at the
artists, particularly
Luke Skywalker, (Mark
Hamill) stood a ereat
chance of beine
seriously injured.”
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
SCENES
Se et we
t - ewe
- *
132 | STAR WARS: THE EMPIRE STRIKES BACK
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
SCENES
THE ORIGIN — During a 04 Vader reveals his
story conference held from Se
scene that didn't make
November 28 to December the final cut, after Luke
2, 1977, the identity of Luke let ee a
eantry, the Sith Lor
Skywalker’s father was still a watches him levitating,
work in progress as George raised by the reactor’s
Lucas would constantly revise wind.
it in accordance with the plot 05 “The most
development. The evolution Frightening thing I
of Luke’s lost sibling was, on eA aaa
away from Darth Vader
the other hand, a much clearer alone 5 plank nine inches
picture. “The idea is that Luke’s wide, i ae
‘ @FOUNC, WI WO WIN
father had two children who machines going
were twins... He took one of full-blast,” said Hamill.
them to an uncle on one side
of the universe and one to the
other side of the universe, so
that they would be safe.” The
plot twist of Darth Vader being
Luke’s father—so a bad guy
and not a hero—was ultimately he
established in the original ‘i aes =n 0 aa {fe re eo
second draft handwritten by © ee A | ra ©
Lucas; however, such revelation
was eventually left out in
the typed version as a special
measure to avoid plot leaks:
“The issue of Luke’s father I
kept pretty quiet for a long,
long time,” Lucas would later
admit. “I didn’t tell anyone...
I just couldn’t risk it getting
out.” By necessity, Lucas and
Irvin Kershner had to disclose
the truth to Mark Hamill, who
was however informed only
upon shooting the scene: “I
met with Mark, and said, ‘Uh,
you know that Darth Vader’s
your father.’ ‘Wha—?” recalled
Kershner. “TI told Mark, ‘Don’t
tell anybody—especially don’t
tell David Prowse,” further
explained Lucas. Despite
starring as Darth Vader himself,
Prowse was given a misleading
line which Hamill would have
to ignore. The voice-over for
Darth Vader was then handled
by James Earl Jones, who
recorded his lines—including
the paternity revelation—in
late 1979/early 1980: “When I
first saw the dialogue that said,
‘Luke, Iam your father,’ I said
to myself, ‘He’s lying, I wonder
how they’re gonna play that
lie out.” On May 20, 1980,
the movie premiered at the
Odeon in London, revealing the
’ , *
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134 | STAR WARS: THE EMPIRE STRIKES BACK
a Gai
—— a an a —~ =— aa
Sara.
——. !
a
06 Luke battles Darth
Vader in the carbon
freezing chamber in
this concept art by
Ralph McQuarrie.
07 “Sword fieht on
antenna” by McQuarrie,
concept art paintine
dated August 21-22,
1978. McQuarrie also
realized the matte
paintine for the Cloud
City reactor shaft that
would be used to finalize
the Film sequence.
eS ie i eee -
2 i
- ee ee”
foe ee
it =
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
i
.
ae
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'@@@ ee eeceer
|
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i
identity of Luke’s father to the
world (and Prowse). Predictably,
the audience was taken aback by
the plot-twist, and consequently
started speculating about
whether Darth Vader was really
the father of Luke Skywalker.
Throughout a survey he
personally conducted, Kershner
found out that “children up to
the age of about seven didn’t
believe that Darth Vader was
Luke’s father. They think he’s
lying. Above the age of seven,
they accept it—and it sends a
chill up their spine.” To dispel
any doubts, people would need
to wait for the third instalment
of the saga; for much to learn, as
a certain Jedi Master would say,
they still had.
SLENES
08 Vader cuts off
Luke’s right hand with
his lightsaber. The
scene would be evoked
in Return of the Jedi
(1983) when Luke cuts
off Vader’s right hand in
front of the Emperor.
09 Scene 400-
which included
Vader’s revelation to
Luke-required nearly a
week to be completed.
Part of it also had to be
re-shot because the
film was damaged
in the laboratory.
STAR WARS: THE EMPIRE STRIKES BACK | 135
10 Whilst filming the
‘Cloud City’s weather
vane scene, Hamill was
haneine 40 feet off the
eround, attached toa
Safety wire.
11 Luke Skywalker
clines to a weather vane
under Cloud City in this
concept art by
McQuarrie.
12 Chewbacca and Lela
e0 back to Cloud City to
rescue Luke, after Leia
senses that he’s in
daneer.
STAR WARS
’ THE EMPIRE STRIKES BACK SPECIAL
SLENES
STAR WARS: THE EMPIRE STRIKES BACK
137
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
SCENES
138 | STAR WARS: THE EMPIRE STRIKES BACK
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
SLENES
13 In this painting by
McQuarrie, Leia, R2-D2
and C-3P0 watch
sureical droid 2-1B
treating Luke’s wound
in the medical bay.
14 A promotion image
of the rebel fleet at the
end of Empire, achieved
through a composition
of ship miniatures
against a starred
backdrop.
15 “Luke and Leia (Star
Cruiser)” production
painting by McQuarrie.
16 Actual frame based
on McQuarrie’s artwork
with the addition of a
nebula element—
realized with flour,
over-exposures, and
a mirror.
STAR WARS: THE EMPIRE STRIKES BACK | 139
THE LAUNCH
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
WV=VI LV = YZOOIN
BACK
IN LHE
THEATERS
‘The London Symphony Orchestra had once again gathered under the
direction of John Wilhams to record the soundtrack. George Lucas had
already put the finishing touches on the opening crawl text. And after the last,
harrowing phases of post-production, Je Empire Strikes Back was ready to hit
theaters... for the first ttme. lo this date, after many re-releases, 1t remains one
of the best loved chapters 1n the entire Star Wars saga. But on the eve of the
premiere, even its stars had their doubts. At the trme, Mark Hamull remarked,
“T don’t think Empire can become a phenomenon. You can’t take people by
surprise like we did the first time. ‘Ihere’s been so much down the pike since we
came out. But I think it’s going to be a smashing success.”
HE DEBUT -
But George
T Lucas kept the
faith. Despite
all the glitches
and delays,
on March 13, 1980 he declared,
“T think it’s a better film than
the first one.” The finished
version was previewed by Lucas
on April 19 at the Northpoint
Theatre in San Francisco, where
A New Hope had been
previewed three years earlier.
Following a sneak peek preview
at London’s Dominion Theatre,
the official world premiere was
held at the Kennedy Center
Washington, D.C., on May
17, 1980, four days before the
release. The Kennedy Center
premiere was a benefit screening
for the Special Olympics,
STAR WARS: THE EMPIRE STRIKES BACK
with 300 guest athletes in the
audience of some 1100. The
cast was also in attendance,
except for Anthony “C-3PO”
Daniels, who called in sick. On
May 20, the entire cast would
gather in London for the Royal
Charity premiere. Backstage,
Princess Leia was photographed
with a real princess, Margaret.
Then on May 21, The Empire
Strikes Back at long last made
its official theatrical debut.
Initially, 7Omm copies were
sent out to 127 movie theatres
throughout the United States,
prior to capillary distribution of
the 35mm version. Theatres sold
out quickly and were forced
to change their scheduling
to accommodate the crowds.
In Los Angeles, the Egyptian
Theatre began showing The
Empire Strikes Back at midnight
on May 21, with screenings
around the clock for an entire
day, practically non-stop.
Long lines stretched in front
of theaters across the country,
with many fans dressed as their
favorite Star Wars characters—a
trend that became popular with
the release of the saga’s first
sequel. Magazine covers, radio
and television interviews, and
the enthusiasm of fans paved
the way for phase two: Thanks
to the distribution of 35mm
copies beginning June 18, The
Empire Strikes Back would be
shown in some 1400 theatres
by the end of summer.
Another glitch, however, lay
just around the corner. George
Lucas attended a screening to
check the audience’s reaction.
’ UAV
i a j J BR,
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Ol The’Style A” poster for The Empire Strike Back, by Roger Kastel, is inspired by Gone With the Wind.
xt ) STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE LAUNCH
He noted that people were
somewhat bewildered by the
ending, and concluded that
the film needed three new
shots added. Joe Johnson and
his crew were alerted, and as
quickly as possible—about
three weeks—they satisfied
Lucas’s request. ILM’s Tom
Smith explains: “The new work
required building a couple
of quick models and recycling
stock shots for the smaller
moving spaceships. The work
was all done in record time
thanks to the recycled shots.”
In the end, Lucas was pleased
with the results, even though
he reportedly congratulated
Johnson’s team with a bit of
‘a
>
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| | | | | ¢ NTIN UES
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02 Style “B” poster for the U.S. official release. Art by Tom June.
142 | STAR WARS: THE EMPIRE STRIKES BACK
wry sarcasm: “Wait a minute.
If you guys did this so fast,
why did it take so long to do
all the other ones?”
Despite the mixed reviews
by critics early on, The Empire
Strikes Back would soon go on
to achieve both critical acclaim
and huge commercial success.
Floored by the film’s darker
tones, people appreciated its
artistic quality, its knack for
keeping suspense levels high,
its dexterous use of cliffhangers
and its sheer inventiveness.
Today The Empire Strikes Back
is considered a major work
of the science-fiction genre,
and in 2010 it was selected by
the United States Library of
Congress to be included in the
National Film Registry, a sign of
the film’s artistic and cultural
value. In terms of money-
making, The Empire Strikes
Back proved that such a colossal
blockbuster was possible even
without investments from the
major film studios. George
Lucas’ dream had come to life,
and his outrageous gamble had
paid off. In just three months
he’d broken even. Lucasfilm
was a creative community able
to go head-to-head with the
major studios and win—while
maintaining complete control
of production, financing, rights,
and deals. The special-effects
house Industrial Light & Magic
would go on to fully exploit
the avant-garde experimental
work Lucas had ordered and
put that knowledge and those
skills to work on other projects.
As far as Star Wars fans were
concerned, lots of questions
came cropping up: Was Luke
really Darth Vader’s son?
Who was “the other” that
Yoda spoke of? Who was
hiding beneath the hood of
the Emperor? What would
become of Han Solo? Those
questions would be answered
three years later in Return
of the Jedi... and in the
continuing chapters. All Star
Wars lovers needed was
a little patience! @
STAR WARS: THE EMPIRE STRIKES BACK SPECIAL
THE LAUNCH
03 Sketch by Roger Kastel for the “Style A” poster. It includes assassin droid 04 This sketch of the Kastel “Style A” poster includes Boba Fett.
IG-88 instead of Boba Fett.
|
05 Sketch by Tom June for the “Style B” poster, focusing on Vader. 06 Poster by Lawrence Noble for the 10th Anniversary of Empire.
STAR WARS: THE EMPIRE STRIKES BACK | 143
EOttLicrort®
MANDALORIAN
GUIDE TO SEASON ONE
COL es bition
THE ART AND IMAGERY
VOLUME 2
THE OFFICIAL COLLECTOR’S EDITION
THE OFFICIAL COLLECTOR'S EDITION
THE OFFICIAL COLLECTOR'S EDITION
THE OFFICIAL MISSION DEBRIEF
LA 1 THE OFFICIAL
COLLECTOR’ S EDITION.
! THE OFFICIAL
MOVIE COMPANION
THE ULTIMATE GUIDE
ALAR TRG A POE Ga 2A A
De Bed de
SUT) TAVILS, OF AE A
HIRE) CAOWAR ST SHEE AA eS
LARA ARIWE TRL CAL VURAL
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LDITELD BY ESSE 1. HOLLARD
TALES OF WAKANDA
MARVEL CLASSIC NOVELS
WEAPON X OMNIBUS
N THE DARKEST HOURS OMNIBUS
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| \ INGE
GAMMA QUEST OMNIBUS
VN MUTANT FACTOR OMNIBUS
NOVELS
| M MOR. > WINGS OF FURY
JS THE LIVING VAMPIRE: BLOOD TIES
NATURAL ENEMY
EVERYBODY WANTS TO RULE
THE WORLD
NGERS INFINITY
WHO IS THE BLACK PANTHER?
THE OFFICIAL COLLECTOR S EDITION
THE
ULTIMATE GUIDE
; OF STA VOLUME 1
=ER VOLUME 2
R VOLUME 3
= STAR WARS INSIDER VOLUME 4
2S: LORDS OF THE SITH
?S: HEROES OF THE FORCE
| RICA DARK DESIGNS
| LIBERATION RUN
C OL PAWS
¢-MAN FOREVER YOUNG
VN KRAVEN’S LAST HUNT
DEATH SENTENCE
1 LETHAL PROTECTOR
DAYS OF FUTURE PAST
THE DARK PHOENIX SAGA
| HOSTILE TAKEOVER
ART BOOKS
THE ART OF THE GAME
S 4 THE ART OF THE GAME
RS: ICONS OF THE GALAXY
RS: THE SAGA BEGINS
THE ORIGINAL TRILOGY
| ROGUES, SCOUNDRELS
AND BOUNTY HUNTERS
IR aie naaced ALIENS, AND DROIDS
Star Wars 40th Anniversary of Empire Strikes Back
001
BLACKER
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MAYHEW
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localización para.su-base de operaciones. La princesa -
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- “STAR WARS and related 104 Fan iNustrations a are trademarks and/or copyrights, in tia United States and olor countries, of.
. Lucasfilm Ltd. and/or its affiliates. O 8 TM Lucasfilm Ltd. No ELA the names, characters, persons, and/*
. or institutions in this magazine with those of any living or dead person or institution is intended, and any such similarity which
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NOS HABIENDO AVISADO
CON TAN POCO TIEMPO
Y QUE SE UNA A NOSO-
TROS EN LA EXPE-
DICIÓN.
EL
HONOR
SiN DUDA
ES MÍO.
TIENES
QUE ES-
TAR DE
BROMA.
Star Wars : Las tormentas de Crait ( Oneshot )
ILUSTRACIÓN
TSUTOMU TAKAHASHI
itrnKiñr. Rakiion Rnttcw (Kd»isliN}ux, que?
garó slog'nR gradas al éxito en )k(Mortfily
Champion Ka^L'AKita Snetan).
MANGA
tai híS-/^±A-íSSl
Hlrofnoto-SIN4chÍ/El mal perfecto Parte 1
Single Actiw Amy. Yombí Ookuer. STOSe «Hedansna;: Hefisargels.
CoGó iieeven (ShteUlia); üu^/tfoiGentosha): Star Wara Ciiiaode W
fferiMTi of the Jéd! ■parx H ofsel: director artístico de Poirfmon,
(í^^‘;/u/TANTIVE IV
FORMALIN.'TantWe IV
Nací6 el 1 de mano de 1976 sn la Prefectura de Ciaima > es desarpe
de tipo 0. Le gustan i os Insectos. Se graoud en la Escuela de Diseóc
Gráfico de Chinda antes de debutar como mortgaka. Más conocido pet
Ig serie Medabot Tanbién trebofe como instructor en uno escuela de
arte.
NAO/EVIL EYES
NAO/Ojos malvados
Hola, soy Neo. Me gustan la ciencia Velen, d icrrory lodo lo que lleve
efectos cspociales. Nc he divertido mucho dibujundo Stun IVíurs. do tu
t|ue he sido fan desde niño. También dibujo para ulanos untolc^as de
vírinnlue^nR y pnrael L\'hif>A>V Mornirjif jGraciafs!
y'Jy /Dear Anakin
FurI Furi Company/l|uerido Anakin
Hola, soy 8l director crecnivD ce Furi Furi Comparyyel presidente de
Furi Furi Factory. Lttoy mu)' contento de que bastimos podido treba.ar
en Star Wars. sh Importar el medio.
Una traducción de BELEKO para la DROID FACTORY
Para que la comunidad hispanoparlante de Star Wars
también disfmfe de estas historias.
http;//droidtiecory. mforof.com
http://univerfOfifrwiri.mtoroj.eom
:
MANGA^STAR WARS
EL MAL PERFECTO ■ Parte 1
tPí
Hace mucho tiempo, en una galaxia muy,
muy lejana...
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haber perdido
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habías tenido^
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MAS POR
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DE SER UN JEO Y
TV VIDA COMt) AnAKIN
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muy lejana...
Seguida por los
siniestros agentes del
Imperio, la princesa Lela
huye a su hogar a bordo*
de su nave ' espacial,
custodio de los planes
robados que pueden
salvar a su pueblo.*y
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GENTE OÉBiL
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Querido Anakin,
ha pasado ya un tiempo desdo
que te fuiste del planeta,
¿verdad? Sigue siendo como si
estuvieras aquí y no podemos
evitar buscarte con la mirada
cuando pasamos Junto a la vieja
tienda de chatarra de Watto.
Aun siendo un niño ya eras el
héroe de mucha gente. Para un
tío como yo, que no entiende
mucho de mecánica, eras como
un dios.
Siempre estabas contento y
pensando en tu madre. Sigues
siendo nuestro héroe.
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Anakin, incluso construiste
una vaina de carreras, ¿eh?
Todos ios aduitos se reian de ti,
pero yo sigo recordando lo
emocionados que estábamos
cuando la probaste por primera
vez.
La carrera de vainas en el desierto
fue increíble, de veras. Conforme
los corredores iban cayendo, nos
preocupamos mucho por ti.
(
Pero supongo que no teníamos
de qué preocuparnos, ¿no?
En el Instante en el que ganaste
la carrera no pudimos evitar
derramar alguna lágrima.
Probablemente ya sentíamos
que pronto te Irías lejos.
VÍÍI37 *7L3Vr d:71VT(A7.
31 A 44 J,Vr 7
El viento me ha traído historias
tuyas. Parece ser que estás viajando
por toda la galaxia. Poder moverse
a través de la oscuridad del espacio,
es difícil no admirarte. Sí alguna vez
te cansas de ir de un lado para otro,
vuelve a Tatooine y haznos una visita.
Siempre seremos amigos tuyos.
Que la Fuerza
te acompañe.
Tu amigo,
KIteter
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Star Wars : Manga [ Plata y Negro ]
tHE HIGH REPUBLIC
\
k-)
a / j
———
P
“MIDNIGH# Wre)-14e).?” Master Kunpar said, his little holo form
squinting as Zeen sailed past with a graceful lunge.
Zeen laughed, popping back up over Ram’s shoulder; her head tendrils
brushed lightly against his cheek. “Hey, Master Kunpar! How many
Mikkians do you know?”
“Enough to have a favorite!”
Zeen beamed and got back to her dance.
“You know, you can take a break if you need to,” Master Kunpar said,
turning back to Ram. “Come back to Valo, help the rebuilding effort.”
Ram nodded, but he knew that wasn’t going to help him find balance.
The very notion of going back home made him nauseous. There was so
much happening out here that the Jedi needed his help with. “Thanks,
Master Kunpar.”
“A break would be absolutely wizard!” Zeen said, using Ram’s favorite
word for when something was completely amazing and the best possible
thing ever. She only did that when she was trying to make him feel better.
Zeen winked at Master Kunpar, who stared blankly back at her over the
holo connection.
“What’s wizard?” the old Jedi asked. “That something you kids are
saying these days?”
Zeen looked scandalized. “Ram! I thought that was something people on
Valo said!”
Ram had to laugh. “No, I totally made that up. Isn’t it wizard?”
“All righty, ’ll just be going now,” Master Kunpar said. “May the Force
be with you both.”
“Can’t believe you made up a whole slang word and didn’t tell us,”
Zeen said, clearly using the Force to elevate her flying cartwheels a little
higher. “You okay?”
Ram shrugged off the compliment and the question and picked up his
holoprojector. “You’re such an amazing dancer, Zeen. Can I take a holo to
send back to Valo?”
“Of course,” she said, twirling. She stretched her arms wide. “Send it
out to the whole galaxy! Haven’t you ever dreamed of being a star, Ram?”
“Absolutely not,” he said, sidestepping to keep her in view.
“T have. I don’t think I’d really love it, but I always wanted to try, just
for a day or two. Be like those fancy singers on the holos, with the whole
galaxy cheering.” She pirouetted again, then spun into an elaborate bow.
Ram applauded.
“T’ve always thought maybe in another lifetime, I would’ve been a
famous star!” A sad smile crescented her face; then she looked away. “But
that’s not for me, not really....” She shook off whatever fantasy she’d gotten
lost in and directed a sharp glare at Ram. “Don’t think I haven’t noticed that
you dodged my question.”
se Dec
“Hey!” Lula Talisola popped her head in from the hallway. “They just
upgraded this to a mission briefing. Something happened on Corellia. We
going or we dancing?”
RW
TWO
CORONET CITY
A lys “Crash” Ongwa picked up the comlink and growled into
it, “Are you in position, Barchibar?”
She didn’t mean to let her irritation out like that. She usually tried to
reserve obvious signs of anger for especially dire situations. But really:
everything had felt pretty dire since the night Prybolt and Ovarto had gone
missing.
And if Prybolt were here, she wouldn’t be growling at this overgrown
screerat to make sure he was in position. Prybolt would’ve just been in
position; he would’ve been anticipating attacks from all angles, including
above and way down below, just like Crash had taught them all to do.
“Almost there, Crash,” the reply crackled through the comlink.
Crash managed not to throw the device off the rooftop. “Almost? What
does that mean? No ETA, no coordinates, just almost?”
“Sorry, Crash!”
What kind of name was Barchibar anyway? Made your tongue feel
prickly just saying it. Who named their kid something that sounded that
much like barf?
“Okay, in position!”
“Yeah, yeah.” Crash had already launched out over Diadem Square in
her small skiff. If her people were choosing sloppiness, she needed the only
eyes she trusted on the scene: her own. She pulled her bright pink hair back
into a loose bun and got up on tiptoe for a better view.
“Commence ruse procedures, Master Crash?” 10-K8 piped up.
“Gah!” Crash yelped. “I forgot you were there.”
The short mushroom-shaped droid was excellent at being forgotten
about—which was why Crash usually used her for intelligence gathering.
That and she was the only one around who made Crash look even remotely
tall. Without Prybolt, the team needed a second set of, well, everything,
running logistics and support. But Crash must’ve been extra frazzled if
she’d forgotten someone was right behind her.
Prybolt had to be okay, and he had to come back. That was all there was
to it. If Crash had to bring him back by sheer force of will, then that’s what
it would be. His final message hadn’t offered much hope, and the fact that
both Ovarto and Tralmat, the client they’d been protecting, had vanished,
too, well ... No, Crash wouldn’t give up on her best friend. If anyone could
survive a Situation going south, it was Prybolt. They’d probably just gone to
ground or something, waiting for whatever it was to blow over.
And anyway, there was no way that whatever was left of the Nihil
would dare show their faces on Corellia.
But whatever had happened, it was pretty clear someone had hurt
Prybolt and Ovarto. If they were okay, they would have reached out by now.
And given the shadiness and sniping of Coronet politics, that someone had
probably been gunning for their client, the Father of Finances, and Prybolt
and Ovarto had just been in the way—obstacles to be removed. And that
brought Crash once again to the worst part of it all: whoever had done it
was almost definitely one of her other clients, someone she was sworn to
protect. Just about had to be. Her crew was responsible for every major
politico in Coronet City.
Keep them all at arms’ length, Crash’s mom, Baynoo, had told her when
she turned the company over to Crash the previous year. And situations like
this were exactly why that advice mattered so much. Crash was working for
people who would snuff out a life for more power without blinking an eye.
She had taken that advice, and her team had kept all their clients safe
from each other, until now. And that was bad enough, but the fact that
people she cared about had apparently been hurt, too, meant she had to find
those responsible and deal with them.
And find them she would.
“Mind the huge hulking beast thing!” 10-K8 warned.
But more important, Crash had to stay focused! Today she had her
reputation to restore, and a complex public drama to arrange that would
require all her attention. She swerved the skiff hard to the left, almost
dumping 10-K8, and managed not to smash straight into the huge Savrip
standing on a rooftop.
“What’s that big ridiculous lump of reptile doing just standing on a
rooftop anyway!” Crash demanded, once they’d spun around and were a
safe distance away.
“Uh, what you told him to?” 10-K8 suggested.
“Oh?” Crash blinked at the massive creature, who had barely even
noticed the collision they’d just avoided. “Ohhh, that’s Tamo!”
“Caf,” 10-K8 said dryly, passing a steaming mug to Crash.
She took the drink and sipped it glumly. “Ah, yes. Thanks.”
“Mmm-hm. Anything you want to talk about?”
Crash shook her head. “I just miss my friend, is all. And I can’t ... seem
0s.
“Keep your head in the game?”
Down below, crowds streamed into the wide-open boulevard, just like
Crash had planned.
The holocams loved Svi’no Atchapat, in part because light seemed to
dance off her in dazzling, colorful beams. That was mostly because she
wore jewelry and even sometimes blouses made with thousands of tiny
mirrors, Crash knew, but it helped that Svi’no also radiated stardom. Also,
she was a Taymar, so she had naturally glittery blue-green skin and flowy
tendrils. And she could literally float, so it basically looked like a majestic
melodramatic wind followed her around everywhere she went.
Crash didn’t care about all that. The two girls had met five years before,
when Crash’s mom was running things and Crash was just an awkward
twelve-year-old tagging along and learning the ropes. Svi’no was twelve at
the time, too, and already performing shows with her family music group in
sold-out venues, and even though Crash had already met dozens of famous
people by then, this strange floating girl seemed legendary on some other
level; so Crash had felt, for maybe the first time, a little starstruck. But then
Svi’no had turned out to be funny, easy to talk to, and, most important, just
as mischievous as Crash, and they’d become instant best friends.
Their friendship had waxed and waned over the years, but recently it
seemed like an unpronounceable distance had opened between them. Crash
figured it was probably just a product of growing up or Svi’no’s
superstardom or Crash having to manage a whole company or whatever,
and tried not to take it personally.
“Client on site,” Barchibar reported over the comlink.
The holos had reported Svi’no Atchapat’s rumored appearance because
Crash had told them to. And it worked: chatter on the holos became
whispers on the streets, whispers turned into yells, and theories and
daydreams and on and on forever until the whole of Coronet City shined
with the excitement of seeing their beloved daughter, their cultural
ambassador. It had taken only a day for the whole thing to reach critical
mass: by that morning, the talk of every neighborhood was whether the
secretive pop star would actually make a rare public appearance, in Diadem
Square no less!
And so they came, and they came in droves. Of course they did! The
street adored Svi’no Atchapat—when she was just a little kid, someone had
taken holo footage of her singing along to the clanking of factory
machinery as her family built star cruisers in the shipyards.
She’d been doing it since before she could walk, and she’d learned from
her grandma, who used to sing the same songs as a girl. It was an old music
—they called it Galan-Kalank, after the sounds of the gears and turbines
that provided its rhythm—but Svi’no had transformed it into something that
sounded brand new, too, and it took the galaxy by storm. Soon her mom and
dad and all six brothers had fabricated portable instruments out of their
grease-covered machinery, and they took little Svi’no on tour, bringing
Galan-Kalank to amphitheaters and music halls from Chandrila to
Coruscant.
They all still worked in the shipyards between gigs—it was family
tradition, after all—and that only gave the music group an even deeper
sense of authenticity and lore. The Atchapats had changed the galactic
music game, put Coronet City on the pop-cultural arts map, and given
Corellia, for once, fame that was about something more than making great
starships.
And so the entire overcomplicated ruse was going as planned.
But it didn’t feel like it, because Prybolt was still gone, and so was
Ovarto, and they were both probably gone for good.
Crash rubbed her face and growled. “Yes, keep my head in the game.”
A cool, heavenly tone rang out, something like the bells of Coronet
Cathedral but ... alive. A second note shimmered into the warm summery
sky, wrapping harmonic waves around the first. The crowd fell silent, awed.
Svi’no had come to dazzle them, and she did not disappoint. When the beat
dropped in time with a third majestic, gold-tinged note, everyone went wild.
Crash closed her eyes and allowed herself a slight smile. “At least one
thing is going—” A sharp pop cut through the cheering and excitement, and
suddenly everyone was screaming. Then three more pops.
That wasn’t supposed to happen!
Crash’s eyes opened wide. “Wasn’t our fake assailant supposed to have
a knife?”
Down below, Tangor, a silverback Wookiee from Crash’s team, had
already wrapped around Svi’no and was moving quickly through the
rippling crowd. Good.
“Thermal detonator!” Barchibar yelled over the comm. “Gotta be!”
“T need info, not wild theories,” Crash barked, hitting the thrusters on
the skiff and looping around to get a better view. “Stop yelling, Barchi.
Report in, one by one.”
“Air-Eleven,” Fezzonk’s gruff voice announced. “Got nothing but
runners and screamers. No suspicious rooftop activity. Nothing doing in the
skies.”
“Good, good,” Crash muttered, sipping more caf. Then some more.
“Tunnel Team Twelve,” Smeemarm said in that creepy whisper she
always used. “All clear.”
Down below, no smoke rose, nothing had shattered. Everyone was
running for cover, but no one seemed to know which direction to go.
Tangor roared in Shyriiwook that she had the client covered and was
heading down Loomar Alley toward one of their designated safety points.
“Droid cam scans show no sign of any malevolent forces on the move,”
10-K8 said calmly. “Besides our own, of course.”
Tamo! Crash glanced back at the empty spot on the rooftop where
they’d almost run into the hulking beast a few minutes earlier. “Where’s the
Savrip right now?”
Something wasn’t right, and it wasn’t with her team. The absence of
Prybolt was a gaping hole in her operation, of course—one she was
increasingly thinking she might have to get used to for good—and
Barchibar was useless, but that was nothing new.
“Tamo’s heading down to the plaza like he was told to,” 10-K8 reported.
“He’s just a little slow because we gave him a big breakfast to keep him
happy.”
“That’s good, that’s good,” Crash said absently, vaguely aware that such
sloppiness could’ve caused huge problems in any other circumstance but
for once not caring at all.
Because something ... wasn’t ... right. A bang—several bangs!—but no
smoke and no casualties could mean only one thing. Sabotage of the most
theatrical kind. And there was only one person in Coronet City as adept at
creating unnecessary drama for profit or pettiness as Crash herself.
“Dizcaro,” she snapped, her competitor’s name a curse in her mouth.
“You think?” 10-K8 gasped.
“Dizcaro knows we’re down, knows what’s at stake. Of course he’d
organize a distraction to keep us from our big comeback.” She paused a half
beat as the plan sizzled across her brain and took shape. “But we can still
save this.”
The comms came alive with a series of overlapping messages:
“Ready, Crash.”
“Tell us what you need.”
“In position and prepared.”
“Hrraaarrrckkkshrark rghaaagh!”
“Let’s do this!”
Crash took a breath, taking in the bliss of a mostly competent team at
the ready. It would take a miracle, but impossible wins were what she did
best. “Ten-Kayt, get Malfac Orfk on the comms for me. Tangor, swing
Svisvi—errrrr, the client, rather—back around toward Diadem Square.”
“Shrawrr rargh!” the Wookiee pointed out discreetly.
“Tell her it is part of the plan,” Crash hissed. “Because it is now.”
“Orfk is on the comms,” 10-K8 said.
“Orfk!” Crash said with a wicked grin and elaborate hand gestures even
though it was just an audio connection. “Have I got a story for you!”
“Get to the point, Crash,” Malfac snorted. “You already blew one story
for me today—got camera crews ready to cover a legendary live concert,
and suddenly it’s a mass casualty event!”
“Mass casualty? Please. Everybody looks fine to me. Anyway, how
*bout I give you a heartwarming humanoid-interest story instead, starring
the star of stage and holoscreen herself.”
“I’m listening.”
“Swing a few droid cams back over to the square and you’ ll get an
exclusive.”
“When?”
Crash lifted her macrobinocs, zeroed in on the elaborate fountain, then
swept beyond it to Tombtok Road, then Loomar Alley beside it, where
Tangor and Svi’no Atchapat were making their way through the shadows.
“In five...” she said.
“Five what?” Malfac snarked. “Minutes? Hours? Days? C’mon, Crash
bb)
“Four.”
“Wait! Seconds? Are you nuts?”
“Three, and on the next number I’m calling that lowlife Taljo Stant at
the Coronet Independent Media Network you hate so much so he can scoop
you.”
“T’m on it! [I’m on it! Sheesh, Crash!”
“Two.”
A whole squad of droid cams whizzed through the sky, past Crash’s
skiff toward the plaza. She waved gingerly at them and flashed a winning
smile.
“I’m not seeing any—” Malfac hissed into her earpiece.
“Just wait.”
For a few moments, the droid cams hovered in the empty plaza,
grabbing footage of the fountain, the litter left by so many people leaving so
fast, the random storefronts.
Crash held her breath.
She exhaled silently as Svi’no Atchapat floated out from the alleyway,
all by herself, an absolute picture of grace and fragility.
The Savrip couldn’t have timed it better if she’d begged him to.
Looking a little slow and ungainly, apparently from his extra-large
breakfast, Tamo rumbled out from a building on the far side of the plaza, a
huge rusty blade swinging from one of his giant green hands.
“Yaaaargh!” Tamo roared, selling it a little too much maybe, but it
would do.
“Shooting stars of Bolbotarp!” Malfac yelped.
Crash just smiled. Any second, Tangor would come barreling out, too,
and beast would clash with beast in an epic battle over a desperate starlet.
Iconic!
Except now Tamo was only a few meters from where Svi’no floated,
trembling and screaming for help, and Tangor was nowhere to be seen.
Crash disconnected the link with Malfac and jumped on the team
comms. “Tangor! Where the kark are you?”
Only static came in reply.
The huge Savrip leapt, landed on the fountain, and then swung into the
air at Svi’no, shattering the stone statues as he went.
“Smeemarm!” Crash yelled. “We need you now.”
“Already...” A utility hole popped open between the singer and the
beast. The long, strange wiry top of Smeemarm’s body appeared, her arms
raised to her face, where a long tube protruded from her mouth. Smeemarm
jerked forward, and Tamo howled, slapping his neck, then collapsed into a
heap on the pavement.
“Whoa!” Malfac squealed, popping back into her earpiece. “Whoa!
Whoa! Whoa! Did you see that, Crash? Did you know that was going to
happen?”
“Know?” Crash said, managing not to sound breathless. “How could I
know? I was just trying to get you an exclusive interview with a galactic
superstar!” She disconnected the link on him.
“Nice work, Smeemarm,” she sighed. “Go play it up for the cams, and
be sure to mention you work for the one and only Supreme Coronet City
Diplomat Protection. The only way to stay safe...”
“Ts if we keep you that way!” everyone said at once over the comms.
Tangor stumbled out of the alley, clearly high as an atmosphere probe,
and sat in the ruined fountain, shaking her big Wookiee head like she was
trying to clear it.
“What happened to her?” 10-K8 asked.
“Same thing that happened to Tamo, from the look of things,” Crash
said. “Tranquilizers. Except Tangor can probably take a higher dose, since
she’s had so much practice.”
“You mean—”
“Dizcaro.” Crash scowled. “Gather the team.”
RW
THREE
STARLIGHT BEACON
from NOW ON), I’m putting us first.
Reath Silas had said those words over a year before, and he was
pretty sure he’d spent most of his time since then trying to figure out what
they actually meant.
It was just the type of riddle that the old Masters loved to interpret and
disagree about—the straightforwardness on the surface only served to
conceal enough layers of meaning to get lost in. Who was us to a Jedi? Was
it the Order? The Republic? The whole living galaxy? And even if there
were a simple answer to that (there wasn’t), what did it mean to put
something first? Was the only way to sacrifice your life? Was adhering to
the commitments of the Order its own sacrifice?
Somewhere in that labyrinth of possibilities, there lay a single path, and
that path would lead him to become the Jedi Knight he was always meant to
be. He was sure of that much. He just had no idea how he was supposed to
find that path.
Also: he was probably late to meet his master, Cohmac Vitus, for yet
another training session.
He glanced up at the time. Okay, he was definitely late.
Reath stood up, packing away his studies, and let out a long sigh,
looking around at the stacks of information around him.
If someone had told Reath Silas a year or two earlier that he would
come to think of a space station in the middle of nowhere as home, he
would’ve had a good chortle and then gone back to his only true home: his
studies.
Of course, when a Padawan laughs, the Force laughs harder. Surely
some smug old sage had said that; Reath would have to check which.
He wasn’t sure when it happened, exactly. It was less a moment, more a
gradual understanding. Somewhere amid all that fighting for his life,
surviving battles against Nihil and Drengir ... his heart had reoriented itself
toward this strange dot in the far reaches: Starlight.
He’d been a Coruscant boy through and through. It was the center of the
Republic and, more important, the Jedi Order.
The temple archive there was the most extensive in the galaxy, and
Reath could’ve easily spent the rest of his life soaking it all in and died a
very happy old man full of obscure knowledge.
Which was probably why he’d ended up out here instead, and somehow
enamored with this station deep in the frontier—because the galaxy was
constantly outdoing itself with new ways to prove Reath Silas wrong.
He stood up, his body as restless as his mind, and walked idly through
the displays of relics and old carvings, running his finger along the wooden
cases.
It was here, in this most unlikely of places, that Reath had found a place
to call home. And somewhere in there lay a piece to this puzzle he’d been
toying with endlessly: From now on, I’m putting us first.
Because on Starlight, he had found a new understanding of us: a
community.
On Coruscant, he’d enjoyed the company of his fellow Padawans, sure.
They were kind, no question, and the cohort collectively enjoyed their fair
share of inside jokes and training woes.
But he never quite clicked with them, either, not in that effortless way
they all seemed to have with each other. He’d resigned himself to that—he
preferred keeping to himself mostly anyway, and it wasn’t like his feelings
were hurt.
On Starlight, though, he’d somehow, against all odds, made friends.
Good ones. Great ones. People who had risked their lives for him as many
times as he had for them. People he trusted deeply. He’d come to
understand himself not just as a solitary recluse spinning through a vast
galaxy of information, but as a part of something much bigger than himself
—an US.
He stepped out into the hallway, waved at Master Monshi, the little furry
engineer Jedi, and allowed his thoughts to guide him in a slow stroll toward
the training room.
But that wasn’t the only us. It couldn’t be. There was the rest of the
galaxy. Reath had been fighting for it, almost dying several times, for more
than a year, and he didn’t feel any closer to an answer, a path.
He could still feel the sheer terror of waking up on the Gravity’s Heart, a
Nihil hyperspace weapon, confused and groggy and mostly helpless,
surrounded by allies and enemies both. Without any effort at all, he could
call up the sense of dread that the creeping darkness of the Drengir caused,
those spiny branches springing toward him from the shadows of the
Amaxine station.
None of it had shown him what it meant to put us first. None of it had
gotten him anywhere but more lost.
It seemed like every time he tried to make a move, every time he got
closer to figuring out his path, something exploded or someone tried to kill
him.
Or, worse, someone he cared about got killed.
His first master, Jora Malli, had died fighting the Nihil, along with so
many others—too many to name.
He just needed a moment to breathe. To be. And then the path ahead
would be revealed to him, he was sure of it.
The familiar smell of sweat and incense surrounded Reath as he stepped
into the training room.
“You’re late,” Master Cohmac Vitus said, and then spun forward, his
practice blade dancing through the air toward Reath.
Ma
FOUR
STARLIGHT BEACON
shimmery imMagé was rotating on the holotable when Ram
walked into the briefing room with Zeen and found a seat beside Lula.
He couldn’t make out what the projection was—someone in a full-body
suit, maybe? Its gradient and resolution were both very low quality, and
Ram had to fight the urge to go fiddle with the controls to make it clearer.
Kantam Sy and Torban Buck were conferring quietly in the middle of
the circular room, along with a few other Masters, and they all looked
serious.
“What’s going on?” Ram whispered to Lula.
She shrugged. “Some weird message from Corellia.”
Corellia! That was the one place in the galaxy Ram had always dreamed
of visiting. So much of the planet was shipyards and factories and more
shipyards and turning gears and moving machines and ... they just ... they
built things there! So many things! All kinds of things! Machines
especially. Ships mostly! Coronet City had lots of skyscrapers and fancy
dignitaries and a famous nightlife, yeah yeah yeah, but at the feet of those
tall buildings, and all along the outer reaches of the city: conveyer belts,
assembly plants, cranes, metal.
It was heaven, basically.
And to top it off, the legendary Anzellan engineer Shug Drabor was
reportedly overseeing the construction of several more MPO-1400 Purgill-
class star cruisers right there in the Santhe Shipyards in Coronet City. That
was the same kind as the Halcyon, which had recently towed Starlight
Beacon. Ram would’ve given his left arm to get a glimpse of Shug at work.
Zeen didn’t seem to notice that he’d completely disappeared inside a
churning, creaking fantasy world. “Core World Jedi,” she said, “they love
tossing anything that smells even slightly like a Nihil our way.”
Ram stifled a laugh. One thing Zeen could be counted on was telling it
like it was with no elaborate courtesies or pretensions at politeness. Ram
liked that about her. Zeen’s best friend from Trymant IV, Krix Kamarat, had
gotten so upset about Zeen being a secret Force user that he’d run off and
joined the Nihil and risen in their ranks to become a ruthless raider whom
Ram, Zeen, and the others had been trying to track down and stop for the
past what seemed like forever.
A whole mess, basically. Ram couldn’t imagine dealing with that kind
of betrayal—his best friends were basically the Bonbraks and whatever
mechanical thing he was working on. But Zeen managed to face it all with
grace and a sly smile, and even though she wasn’t technically family, all the
Padawans and, well, everyone on Starlight, basically, loved and took care of
her like she was. Plus, she’d proved herself over and over in battle and had
come to be recognized as one of the task force’s best assets.
“Welcome, everyone,” Master Kantam said, their sly half smile
crescenting across their light brown face. “I’m afraid we don’t have any
news on the whereabouts of Krix Kamarat or his raiders.”
“Aw, man, forget this!” Zeen got up and pretended to storm out, and
everyone cracked up. Their long friendship and sudden rupture had made
her feel somehow responsible for Krix’s reign of terror, and all the
Padawans knew she was the most pressed about finding him. But at least
she could joke about it.
Zeen sat back down next to Ram with a chuckle and let the laughter die
down before yelling, “Kidding!” which made everyone giggle again.
Ram had absolutely no idea how one even began to be brazen enough to
make a room full of Jedi laugh like that. It seemed scarier than going into
battle; although, the way he’d been feeling lately, maybe that was a good
thing. Maybe that was exactly what he needed to snap himself out of this
weird, no-feeling feeling: to put himself out there!
“So, when you’re all done having fun...” Kantam said, but Ram could
tell they weren’t really bothered. Magic! He would never have dreamed of a
scene like that playing out on Valo, where formalities ruled the day and the
utmost respect had to be observed at all times. Or at least, the illusion of
respect. Ram wasn’t totally sure which was which, but he didn’t think they
were the same thing.
“We got a message from Minister Fendirfal, a Republic liaison on
Corellia,” Kantam said, all business once again. “She was passing along
something that she seemed to feel was”——Kantam appeared to swallow
down a smug aside—“more of our department.”
“What does Minister Fendirfal think our department is?” Lula Talisola
asked, her defensiveness clearly only partly in jest.
“The Nihil,” Master Kantam sighed. “Of course.”
The interior regions considered the Nihil to be an Outer Rim problem,
even though they’d once effectively shut down hyperspace lanes to the
whole galaxy and were proving a more formidable enemy than anyone had
imagined. The Nihil had also captured a Jedi Master and turned him to dust,
and no one had figured out how yet, so Ram felt like the whole galaxy
could stand to be a little more concerned about them, even if they were in
retreat.
“But wait,” Lula said. “The Nihil are scattered and nowhere near
Corellia, right? They know enough to stay away from the Core planets.”
“Well...” Kantam walked over to the holoprojector, where the frozen
image of the person in the full-body suit still rotated slowly. “Probably not,
but that’s exactly why we must look into the situation. If there are somehow
functioning Nihil cells in the Core, well ... we need to know about it. The
Coronet City temple got this from a source and wanted us to see it.” They
pushed a button and the flickering image came to life, stumbling forward in
a frantic tangle.
“Crash,” the man panted. “Crash...”
There was something odd in the way he moved. Ram couldn’t quite put
his finger on what, but even through the flickering bad reception, he could
tell that whoever this was, he wasn’t comfortable in his own skin.
“Crash!” the person said again. It looked like he was in a city street.
Master Torban Buck, a huge, imposing Chagrian with light blue skin
and a tendency to speak in the third person when he got excited, stood up
and paused the recording. “Why does this strange man keep yelling crash?
Is he perhaps creating his own sound effects?”
“T think it’s someone’s name,” Lula said.
“What kind of a name is Crash?” Torban puzzled.
The room went quiet. The Chagrian was well-known among the Jedi for
his nickname, Buckets of Blood—he’d given it to himself in honor of his
healing skills, hoping, perhaps, that people would hear he was coming and
take heart, because soon buckets of blood would be returned to their bodies!
It seemed to Ram like that probably backfired spectacularly more often than
not, but since they were usually going into battle with Master Torban, it
worked pretty well at striking fear in the enemy.
This was it! This was Ram’s chance! Who would ever give himself a
new name to let everyone know what he’s good at? The words waited,
ready. But was it “give himself” or “give themself”? And should it be “new
name” or “nickname”? And what if it hurt Master Torban’s feelings and he
never spoke to Ram again?
“Why in the stars would someone pick a dramatic new name for
himself?” Master Torban boomed.
For a moment, everyone blinked at him, probably trying to figure out if
he was aware of the irony.
Then the huge Chagrian broke into a grin and winked; giggles and
snorts erupted all around. Ram wasn’t sure if Torban had been trying to kid
around from the start or had just realized the humor of it from their reaction
—you could never really tell with Buckets of Blood—but either way, the
moment was gone.
Probably for the best.
Kantam cocked an eyebrow. “May we continue, Master Buck?”
“Of course!”
“Come in, Crash!” the man in the recording pleaded. “I...”
The man spun suddenly and unleashed a spray of blaster fire on the
street behind him. The room around Ram got suddenly quiet. This person
was Clearly running for his life. “Crash! Crash, it’s Prybolt. I ... I messed
up. There’s ... Nihil ... Dressed like Nihil. Gas masks, and gas ... but ... I
don’t think...” The holo blipped out of existence, leaving an eerie silence in
the briefing room.
Lula was the first to speak. “It can’t be! Can it? The Republic is
everywhere in the Core. Why would the Nihil risk going so deep into
enemy territory?” The whole room suddenly seemed alive with chatter and
WoOITy.
“They are notoriously reckless,” Master Torban pointed out. “And it’s
paid off. They may have suffered massive casualties at the Republic Fair,
but they still considered it a tactical victory. And in many ways, it was.”
“Also,” Master Kantam chimed in, “we still don’t know what happened
on Grizal, or how they turned Master Greatstorm to dust.”
That quieted everyone down. In response to the attack on Valo, Republic
forces had overrun a Nihil outpost on Grizal, and they’d rescued a
kidnapped Jedi—Loden Greatstorm—only to have him suddenly reduced to
a pile of dust by ... something. No one knew what, and the witnesses were
all in too much shock to make any sense of it. The whole incident had
become a dark cloud hanging over the Starlight Jedi. Most of them had
stopped talking about it in group settings—there wasn’t much to say once
they’d cycled through enough rounds of “What could it have been?” and
come up short, again and again—but Ram knew it still haunted many
dreams. Then Masters Terec and Ceret had almost been killed by the same
mysterious creature. They whispered about it late at night when they
couldn’t sleep, and imagined, and wondered, and then they slept and those
wonderings became nightmares, horrific beasts and armies of empty-eyed
sorcerers and impossible chasms of darkness growing wider and wider.
“Krix is our primary target. I’m not sure diverting resources to a Core
World makes sense when we’re so close to catching him,” Lula said,
sounding, Ram thought, very much like a full-grown Jedi Master.
“Why doesn’t Minister Fenwhatsherface look into it?” Zeen asked.
“Fendirfal,” Lula corrected with a smile. “But, yeah! Or pass it to the
Corellian Jedi?”
“My sense,” Kantam said delicately, “reading between the lines and
based on my grasp of Core World politics right now—which is incomplete,
I admit—is that the Corellian Republic administrators feel like this situation
is dubious at best. They described the source as—let me see...” They pulled
up a memo on their datapad. “ ‘A chaotic and probably criminal element,
although technically an honest businesswoman. Adolescent and
untrustworthy in the extreme.’ ”
“Also,” Master Torban added, “with the Jedi from that temple neck-deep
in the union dispute on Gus Talon, they probably don’t have the resources
to investigate this.”
Ram was familiar with how certain worlds felt like they were more
important than other ones, based on obscure things like how close they were
to the center of the galaxy, what crops they grew, how many suns they had
—you name it—and how that sense of entitlement led to actual real-world
consequences, like which resources went where. Valo was a planet many
called a backwater; most of the Outer Rim planets were. And while
Chancellor Soh had been doing her best to correct those imbalances—the
Republic Fair itself had been one attempt, however doomed—the
longstanding feelings of superiority and inferiority remained in many.
Their intentions were probably good; they had other problems to deal
with, from the sound of it, and the whole galaxy had united to help Valo and
other planets repair the damage from the attacks.
But the truth was, the Nihil were everyone’s problem, even if they’d
been scattered, and even more so if they were strong enough to show up in
the heart of the Republic.
Ram tried not to let all that grumbling enter his voice when he stood up
and said, “I think we should go check it out.”
Everyone turned to look at him, and for a moment, Ram wondered if
he’d forgotten to put on his robes or something. Then he realized it was
because he rarely said much in public meetings, much less made big
declarations about what should be done.
“T agree,” Master Kantam said. “It seems unlikely there are Nihil there
at all, but even if they have established a presence on Corellia, I doubt it’ ll
be large. I'll join Padawan Ram on a short exploratory mission. Lula.” They
locked eyes with their Padawan, Lula Talisola, who looked as calm and
determined as ever. “Can you join Master Torban to take leadership of the
task force to find Krix while I’m away?”
That was a big deal! Two other older Jedi—Obratuk Glii and Tabakan
Pak—were standing nearby. Kantam had exchanged meaningful looks with
them both before saying it, which meant they’d all talked it over already.
“Of course.” Lula didn’t even hesitate, Ram marveled. Everyone knew
she would be knighted at any given moment, though, and this was probably
part of her final trial before that happened.
“T’ll go, too,” Zeen said, standing and putting a firm hand on Ram’s
shoulder. “To Corellia. It’ll just be a short trip, right? And I should probably
take a break from hunting Krix anyway.”
A look passed between Lula and Zeen that Ram wasn’t sure he
understood—something like sadness and recognition. Then Lula nodded.
“Very well,” Kantam said. “I’ll see if Master Cohmac and Reath will
join us, as well. Where are they, by the way?”
“In the training room as always, probably,” Master Torban said with
some concern. Cohmac and Reath seemed to be training constantly when
they weren’t on missions these days. They barely showed up to briefings at
all anymore.
The Padawans were already rising, heading back to their chambers and
practice halls.
“T’ll find them,” Ram said.
Kantam nodded. “Good. And then: to Corellia!”
RW
FIVE
STARLIGHT BEACON
“6 A gain. ‘
Reath, already sweaty and panting, lunged again.
Master Cohmac blocked Reath’s first strike, dodged his second, and
then they fell into a fast flurry of parries and jabs, the silence easy between
them, gentle.
Reath would ask Master Cohmac for advice. This time he really would.
The lost feeling had been rising to a fever pitch in Reath for the past few
weeks, the sense that he was somehow staring directly at the road he was
supposed to take but still not seeing it. Masters were who you were
supposed to go to with those problems—that was the whole point! But
somehow, he hadn’t been able to bring himself to ask Cohmac for guidance.
Cohmac’s quick intake of breath was the only alert Reath had that he
was about to get hit. Thoughts, thoughts, getting in the way once again. He
lunged out of the way as his master’s wooden saber whooshed where his
head had just been, then he spun into a counterattack, whacking Cohmac’s
arm just below the shoulder.
“Hrgh!” Cohmac grunted, clutching the welt quickly forming on his
light brown skin.
“IT... sorry?” Reath said, clenching his teeth. “I shouldn’t have hit so
hard.”
Cohmac waved him off. “No, it’s not you. That’s not it. You didn’t
overdo it. That’s why we’re using practice blades. It’s ... it’s me, that’s all.”
For a moment, they both stood there, breathing, neither looking the
other in the eye. Reath was acutely aware of his master’s swirling tangle of
emotions, the strange heaviness Cohmac had seemed to carry since ... well,
since they’d met, really, but whatever it was, it seemed to be getting larger,
heavier, with each passing day.
And maybe that was why Reath hadn’t figured out how to bring up his
own troublesome thoughts. It seemed like Cohmac had enough to worry
about.
“You’re getting better,’ Cohmac said, his grimace finally creasing up
into a slight smile, just visible behind the curtain of black hair that hung
over his face.
“Am I?” Reath had never cared for fighting, but he was good at it, for
the most part, and he’d come to relish the practice sessions that Cohmac
kept insisting on, more and more frequently these days. He had learned to
take comfort in the press of that sweat-soaked mat against his skin when
he’d tumble forward to avoid a strike, the flash of his body as he whirled
past the wall-length mirror, the gentle, obnoxious trill of that Hydraxian
pipe music they always had on at a low murmur to keep the mood calm.
It was absolutely not him, and maybe after all he’d been through,
finding solace in something totally different was exactly what he needed.
Cohmac, on the other hand, did not look happy. “Again,” he said,
winding his head to each side until horrific popping noises sounded.
“Master...” Reath said. Maybe his tone, his solemn face, his posture
would somehow say it all for him, and he wouldn’t have to explain any
further what the problem was.
“Again, I said.” No such luck. Cohmac’s voice was a raspy growl. It
didn’t imply an actual threat, Reath knew by now, but the sheer ferocity and
determination the older Jedi had to ... what? What was he trying to get out
of all this exertion and what had honestly become an exercise in futility?
Reath was simply getting better and better, and Cohmac was not. So all this
amounted to was a never-ending, increasingly awkward cycle of Cohmac
getting his ass kicked.
On the other hand, Reath was enjoying it, probably more than he should
have been. “All right, Master Cohmac,” he said, swinging forward, practice
stick raised.
“Ah, hey hey hi!” The gymnasium door slid open, stopping Reath in his
tracks, and Ram Jomaram stepped in, waving uncomfortably. The poor kid
had been off Valo for a few months and still didn’t seem to know how to
just exist comfortably around other people—he was happiest alone in his
room, tinkering with random machines and chatting with those little
Bonbrak creatures he’d brought along with him to Starlight. That, of course,
made Reath love him like a brother. Reath wasn’t alone in that, though. It
seemed like pretty much everyone on Starlight wanted to adopt and protect
Ram as their little sibling. Meanwhile, Ram just wanted to fix things and
break them again.
“Padawan Ram,” Cohmac said, looking momentarily revitalized and
even flashing that rare full-toothed smile. “What did you fix today?”
“The reactor core for a microbionic conduit selector!” Ram said,
beaming proudly. Then he reconsidered. “Well, it’s not actually fixed yet.
But we’re working on it!”
“That sounds, ah, dangerous, possibly?” Reath suggested.
Ram shrugged and let out a slight chuckle. “Not as long as we keep it
away from lithium bicarbonate and fluxor solution!”
“You are a very rare and special individual,” Cohmac said without a hint
of condescension.
Ram clearly recognized it for the genuine compliment it was and
nodded his appreciation.
“What can we do for you today?” Cohmac asked.
“Corellia,” Ram said.
Cohmac and Reath both blinked at him.
“We’re going! Well, we hope you’ll join us! Master Kantam and me,
that is. Er, I. Master Kantam and I. Hope you’ll join us! Oh, and Zeen!”
“Corellia?” Reath gaped. He had just decided that the only hope for any
answer to finding his path lay in remaining on Starlight, at least for a little
while. He had finally found a place to call home, finally stopped dreaming
of life in the center of the Republic.
The Force laughed harder, though.
Now he was being sent right back into the Core.
Cohmac tilted his head. “What in the stars for?”
“It’s a transmission the Republic people sent ... this person Crash and
then someone who ... saw, maybe saw the Nihil?”
Already, Reath could see the heaviness roll back over his master like a
cloud.
“T’ll talk to Kantam,” Cohmac said, grabbing his satchel and heading
out. “Thanks, Ram.”
For a moment after the door slid closed, Ram and Reath let the gargly
Hydraxian pipes warble through their achy dirge.
“Have you ever—” Ram started just as Reath said, “Do you want to
Spar?”
They both smiled, then Ram said, “Yes, I do, actually,” and pulled out
his lightsaber.
“Whoa, whoa, we could just use the practice sticks.” Reath laughed, but
then thought better of it. “Unless ... you want to practice with live sabers?”
Ram lit his, the yellow blade illuminating the wild smile that creased his
face. “More fun?” he said with a shrug.
“Absolutely,” Reath said, lighting his own green one and standing at the
ready. “What were you going to ask me?”
Their sabers met with a jangly surge of power. Reath was careful to
move slow, telegraphing his every move so Ram would see it coming and
block. “Oh,” Ram said, easily swiping away Reath’s sizzling blade and then
shoving him clean across the room with the Force. “Never mind.”
Reath sat up with a huge grin plastered across his face. “It’s like that,
huh?” He stood, cracking his neck the way his master had. “Game on!”
RW
SIX
STARLIGHT BEACON
een Mrala and Lula Talisola sat across from each other in
meditation position, like they had so many times before.
Zeen wasn’t sure when they’d stopped sitting side by side during these
sessions and started sitting face to face. She just knew that it felt more
intimate this way, more right.
As always, an infinite skyscape seemed to open up between them, like
the whole wild galaxy came to life in their connected minds, from its giant
spinning planets to the tiniest drops of dew on each trembling leaf.
“Do you feel me?” Lula asked, and Zeen knew she was smiling. They
both were.
“Always,” she said. It was true. Even those rare times when they were
far away from each other—like during the Republic Fair, when all hell was
breaking loose and thousands of people cried out in fear and pain—Lula’s
presence still felt like a beacon amid the chaos. It wasn’t that Zeen knew
exactly where her friend was, just that she could feel her, her warmth, and it
had calmed her, guided her through the carnage until their physical bodies
actually found each other.
But Zeen felt something else, too—it had been growing inside her for
months, and she had no idea what to do with it, even what to name it.
Fear maybe. Or perhaps love.
Whatever it was, she was pretty sure it was about to explode. She was
about to explode.
Lula had been put in charge of the task force. For a Padawan, that was
an incredible honor. It meant she’d probably be knighted soon. She didn’t
look happy about it, though. Lula was the most ambitious person Zeen had
ever met, but it didn’t seem to come from ego—she wasn’t trying to get
ahead of everyone else; she just loved learning, loved challenging herself,
loved the thrill of forward motion. Zeen knew Lula had been trying to slow
down, let each step of the journey be what it had to be, but this kind of
honor would’ ve lit her up a few weeks ago.
In the briefing room, she just looked sad. And Zeen’s own first thought
had been a selfish one: Lula would be knighted, and then what? What room
would there be for a random girl from nowhere in the life of a Jedi Knight?
The Jedi weren’t supposed to form attachments; they didn’t marry and settle
down. They had more important things to do.
Zeen hated the bitter tone in her own thoughts; she should’ve been
happy for her best friend in that moment. And what did it mean that Lula
didn’t seem happy, either? Only that Zeen was trouble, pure trouble, in her
favorite person’s life. A distraction.
That was when Zeen had decided to go to Corellia with Ram and Master
Sy. She would get away for a bit, and maybe things would make sense
when she got back.
She had instantly regretted the decision, but it was too late.
“Leaving will be good,” Lula said a few minutes later, when they’d both
opened their eyes. This was what they did, almost every day: They sat.
They let the universe reveal its shimmering secrets around them through
meditation, and then they spoke, quietly, gently, being as true as they knew
how to be, about whatever was going on that day.
“1’m not sure,” Zeen admitted. “I’m...” Was it fear she still felt? Not
exactly. Just a discomfort. Uncertainty. But then ... maybe that wasn’t hers.
“Are you?”
“T...” Lula didn’t usually come up at a loss for words, but now she
trailed off. “I don’t want our hunt for Krix to become who you are.”
Zeen flinched a little. She knew her friend was voicing a very real
danger. Still, it hurt.
“What will you be when we catch him?”
oy eer
“Where will you go?”
“T figured I’d stay here,” Zeen said, because the truth was, After Krix
didn’t seem like a real thing, and it wouldn’t until he was caught. She
hadn’t given it much thought because it was possible they wouldn’t catch
him for years, and it was possible they’d catch him the next day. What point
was there in planning when so much was uncertain?
Lula smiled in that way she had that made her look like a little kid.
“That would be amazing.”
Zeen returned the smile, but the sadness and uncertainty remained, and
she still didn’t know if it belonged to her or to Lula. “I don’t know what it
will be like, when the chase is over,” Zeen admitted. “I don’t know who I[’|l
be.”
“We can find out together,” Lula said. “The galaxy’s changing as fast as
we are. I’ve been”—her face darkened—“trying to figure out who I’Il be,
too.”
“You got put in charge of a task force, Lula. That’s practically unheard
of for a Padawan. What’s wrong?”
An alert dinged over the speaker system, then Ram’s voice came
through, breathy with nervousness and restrained giggles. “Um, Zeen Mrala
we’re about to leave for Corellia without yo—”
Reath cut him off. “No, we’re not! Don’t listen to him, Zeen. He’s still
practicing his jokes. But we are packing up the shuttle, so hurry up, please!”
Lula and Zeen rolled their eyes at each other, and then simultaneously
got serious again.
Zeen didn’t want to go anywhere where Lula’s face wasn’t going to be
across from her, ready with a thoughtful answer or calm silence. But Zeen
was also desperate to get as far away from all this confusion and turmoil as
possible.
“T don’t know,” Lula said. “To answer your question. It’s been on me the
past few weeks. You’ve seen it. I still don’t have an answer.” She met
Zeen’s eyes with that determined gaze, the one that meant victory was
imminent. “But I will figure it out, I promise.”
Zeen smiled. She believed her. What else could she do?
Lula smiled too, and it looked real. “Now let’s get you sent off to
Corellia.”
RW
SEVEN
STARLIGHT BEACON
orellia?
Was that where Reath’s path lay?
He shook his head, trying to keep his feet moving steadily in the same
direction, trying to keep his thoughts from running off without him.
He had no idea how he was supposed to find answers to any deep
questions, like how to be a Jedi, when every five minutes he had to pack his
bags and run off to this planet or that station, getting attacked, barely
surviving, then doing it all again.
He was tired. That was the thing. He was tired, and every day seemed to
take him further and further from the answers he needed.
Especially the days like this.
But at least now he knew he needed to go ahead and ask Master Cohmac
for guidance.
He rounded the corner of the hallway and entered the meditation center,
where his master could always be found before a mission.
“You are sure of your path,” Cohmac had said to Reath on that same day
when Reath had asked him to be his master. And he had felt so sure then,
and that sureness had been a blessing after so much chaos and confusion.
But it turned out paths only revealed themselves one step at a time, and
Reath was ready for another step.
“Ah, Master?” Reath said, walking into the small dark room his master
favored. But then he stopped.
A holo image hovered in the air in front of Cohmac: Orla Jareni. She
and Cohmac had been friends as Padawans, and their friendship had
endured ever since. Orla Jareni had been with them on the Amaxine station
to fight the Drengir, and then she had taken off to become a Wayseeker,
letting the Force guide her path, even if it meant going beyond the Jedi
Order’s sense of duty.
Sometimes Reath wondered what it must feel like, the freedom and
openness that would come with following the Force like that. The idea
terrified him. The Order could feel restrictive sometimes, like a too-tight
uniform shirt, but there was a certain safety to those regulations, a sense of
ease in allowing yourself to move within the same parameters Jedi had
followed for thousands of years.
“Hello, Reath,” Orla said. “It’s okay, you may come in.”
“T didn’t mean to interrupt,” Reath said.
“Tt’s fine,” Cohmac insisted, so Reath walked farther into the dimly lit
room.
“1...” he started, then noticed the tear tracks on his master’s face, the
wet sheen of his eyes. “What’s wrong?”
Cohmac shook his head. “Doesn’t matter.”
“Don’t lie to the boy,” Orla said sharply.
Cohmac shot her a look, then shook his head. “I am struggling, my
Padawan. I do not know...” He glanced back at Orla, and she nodded at
him to go on. “A great sadness has been welling up in me. It is bigger than
any I have known. It seems to cover the whole galaxy. I cannot see clearly
through it. I do not know if it is within me or something beyond, something
that’s coming. Orla has been helping me meditate with it, try to suss out a
meaning, but...” His voice trailed off.
“But I feel it, too,” Orla said solemnly. “And that makes it difficult to
help.”
Suddenly, everything Reath wanted to talk about seemed trivial,
juvenile. He didn’t know his path, big deal. Two of the most powerful Jedi
he knew, one of them his own master, were besieged by their own emotions.
It was beyond him, but he refused to be helpless. “What can I do?”
Orla smiled. “You cannot take on other people’s problems, young
Padawan. That is all.”
“But—”
“No,” Cohmac said sternly. “This is not something you can help with,
Reath. I’m sorry. I know you want to.” He closed his eyes. “I will sit with
these feelings and work through them as I always have.”
A moment passed, and with it, some silent understanding between
Cohmac and Orla. Then Cohmac nodded and stood.
“Take care of yourself, old friend,” the Wayseeker Jedi said.
“May the Force be with you, Orla.”
Cohmac clicked off the holocaster and led Reath out of the room.
RW
EIGHT
STARLIGHT BEACON
K antam Sy could tell when something was troubling their
Padawan, and they also knew her well enough to know she would talk
about it when she was good and ready, and not a moment sooner. And it
seemed like that moment was finally coming.
“Master?” Lula asked quietly as they stood in the hangar bay, checking
the last few tech configurations on the Talmadge. Over by the ramp, Reath,
Zeen, and Ram chatted excitedly about what might await them on Corellia.
“You ready to talk?” Kantam asked their Padawan.
Lula nodded, wearing that stern and determined expression Kantam had
come to know so well over the years.
Kantam smiled. “That’s the face you used to make when you didn’t
want to go to sleep. What’s wrong?”
She finally relented with a sigh that turned into a laugh, then rubbed her
face. “I don’t know, Master. I don’t feel fear. I don’t feel hesitancy. I don’t
feel confusion even.”
“That’s good. So what’s wrong?”
“T...” She looked away. “It meant so much to me, that you put me in
charge of the mission along with Master Buck.”
“But?”
She scrunched up her face. “I feel like the old me would’ve been even
more excited? And I know that’s not a bad thing, but...”
Kantam waited. Whatever the heart of the matter was, Lula was circling
it like a drain. There was no need to push.
“You said something to me once.” Her eyes met Kantam’s, newly
determined. “That I had taught you a lesson you were still trying to learn.”
An urgent alert blared out of the comm system overhead. “All task force
members to the briefing room!” someone called. “Padawan Bibs has found
Krix’s hideout! We’re preparing for an assault.”
Lula’s focus was gone. Kantam watched their Padawan lock eyes with
Zeen.
“T...” Zeen said, glancing at Kantam, then the doorway.
“Tt’s okay,” Kantam said. “Go along with them. But do not let your
anger consume you. Remember your training.”
“T’ll remember,” Zeen promised.
Lula turned back to Kantam. “I’!l talk to you about it when we all get
back. I promise.”
Kantam raised their eyebrows. “I’m proud of you, Lula Talisola. I
always have been.”
She smiled sadly, an ancient smile; it seemed to hold whole centuries. “T
know. Thank you. For everything.”
She hugged them hard. “I’ll keep you up to date! I promise! And with
Master Buckets and the others, I know we’II be safe!”
“And I swear I’ll come find you all as soon as we follow up on this
lead!” Zeen promised, squeezing Ram so tightly he looked like he might
choke.
“It’s okay,” Ram assured her. “I understand! And anyway, we’re going
to Corellia. We’ll be fine! You’re the one going into almost certain battle
against a vicious foe. Anyway”—he nudged Reath—“T have this master
dueler to keep me safe, right?”
“Hey! I only lost to you twice and you keep changing the rules! Don’t
act like—”
“Wait!” Ram cut him off with a raised hand and a yelp. “I did it! I DID
IT!”
“What’s happening?” Cohmac asked, somewhere between amused and
concerned.
“Ram finally made a joke.” Kantam chuckled. “Nice work, Ram!”
“Did I miss a meeting?” Reath asked.
“Most of ’em!” Ram zinged. “OH! I am on fire! I cannot be stopped!
Wizard!”
Reath shook his head. “Maybe I’ll come along with you and Lula
instead, Zeen.”
“Let’s do it again!” Ram insisted.
Zeen put her hand on Ram’s shoulder and looked him in the eye. “I’m
proud of you, kiddo. You’re taking after the true master of disaster on this
Space station: me. Stay at it!” She headed off. “I expect great things from
you!”
And then she was gone, side by side with Lula as always, off down the
corridors and into whatever danger lay in wait.
“They’re the most impossible puzzle, aren’t they?” Cohmac chuckled
when Kantam turned around.
“Padawans?”
Cohmac nodded, and the two Jedi Masters fell into stride together.
“They’re the best teachers we’ll ever have,” Kantam said. “Besides
Master Yoda, of course.”
“Of course,” Cohmac said. “Still no word, huh?”
Kantam shook their head. “I ... I don’t feel him, but ... that doesn’t
mean ... anything, really. I do think if he’d become one with the Force, we
all would’ve felt it.”
Master Yoda had simply vanished a few months back on the junk moon
Quantxi. He’d left a message saying not to follow or look for him, and that
had been that. What could they do? Everyone thought he would’ve come
back by now, and his ongoing absence sent a low rumble of concern
through Kantam.
They stood on either end of a large, flat cargo container and lifted it
together, then headed onto the ship.
“T agree,” Cohmac said. “But that doesn’t make me any less worried
about him being gone this long.”
“T just know,” Kantam said, “everything happening right now would be
much easier to make sense of if Master Yoda were here.”
“Any more cargo?” Cohmac called as Reath and Ram picked up their
travel packs and headed up the ramp.
“No, we got the rest of them, but thanks for your help,” Ram said, his
face twitching on one side.
“What’s wrong with your eye?” Cohmac asked.
Reath kept walking. “He’s trying to wink because he thinks he just made
a joke. Let’s get this over with, please. This is clearly going to be a long
|?
journey
“Ah? Ah?” Ram tried, still squinching half his face.
“Who will stop this child?” Cohmac wondered out loud. “The child
must be stopped.”
Then Kantam slid into the pilot’s seat beside Cohmac. They both put on
their headsets as the small shuttle, the Talmadge, rumbled, lifted into the air,
and blasted out into the gaping maw of space.
RW
NINE
CORONET CITY
ce O f COUFS6@ that was the plan!” Crash insisted, slapping her desk for
added drama and upsetting the caf mug just enough to splatter some
knickknacks. “What kind of shoddy operation do you think I run?”
“One that almost got me murdered.” Svi’no Atchapat was unimpressed,
but that was Svi’no’s resting state. It was part of her charm, Crash figured,
and made it all the more hilarious how vulnerable and desperate she
managed to look onstage. An actress through and through.
Probably why they got along so well.
Except when they didn’t.
“T would never”—Crash thunked her desk again—“ever”—and again
—‘put you in danger! You are my friend!”
“Um, hello?” A polite little voice came from the doorway, followed by
the polite little head of Minister Chips Fendirfal. “Did someone say
someone’s in danger?”
“No!” Crash snapped. She softened. “Sorry—come in, please, Minister.
My”—she gestured toward where Svi’no had just been standing, but the girl
was gone—“office is yours, of course.”
“Too kind, too kind,” the minister tittered, taking a few steps closer and
glancing around at the shadows as if one of them might be poised to take a
shot at her. Which, to be fair, was probably a safe guess. “Reeeeeegarding
your report, of course, with the holomessage from your Grindalid friend.”
The woman suddenly smiled way too brightly, then seemed to realize it
wasn’t the time for all that wattage and turned it down a few notches. Crash
just stared at her.
“Unfortunately, the Republic offices are currently quite, ah, deluged,
with various problems in the system, especially the union dispute on—”
“Gus Talon, I know.”
“Which has also, regrettably, just about emptied out the Jedi temple, as
the dispute seems to involve some complicated matter that only Jedi
understand, of course. Over my head, you see.”
“T see.”
“Anyhoo, I did pass it along to some experts on the matter of the
supposed Nihil threat, and the good news is, they have elected to send a
small contingent of Jedi from Starlight Beacon to look into the matter.”
“Starlight? So they’|l be here in a few weeks?”
“Ah, no, no, they should be arriving imminently, I believe!”
Crash sighed. “It was a joke. Because Starlight is so far away?”
“Ah, yes, yes, of course!”
Crash’s mind was already spinning into action though. She still didn’t
have any leads on Prybolt and Ovarto’s disappearances, just a hundred
hunches to follow up on. She was about to be busy chasing down each one,
or deploying other people to do so. How would a group of Starlight Jedi
change the equation on the ground? Would they try to muscle in on
everything and get in the way? Could they be useful, at least as a
distraction? Everyone loved the Jedi, and they were probably excellent at
parlor tricks—or they would be if they’d put those Force powers to actual
use instead of just levitating and looking serene.
Then again, they were also great warriors. They’d been pivotal in
fighting off the Nihil attack on Valo and elsewhere, of course. ... There was
much to consider.
“Ah, Miss Crash?” the minister said.
Crash realized she had steepled her fingers in front of her face and
arched her eyebrows like a villainous mastermind, and she was probably
terrifying Fendirfal. She popped up and ushered the woman to the door.
“Erm ... yes! Thank you, Minister, for passing the message along.” There
was a lot to do if she was going to take full advantage of this new quirk in
the equation. “I’ll be on the lookout for these Jedi flung from afar, heheh.”
“Very well, Miss Crash, very well, haha.” The minister dithered as
Crash shoved her out of the office. “I do hope they find your employees.”
“Me too,” Crash said quietly after the door slid shut.
“Alys!”
Crash yelped with surprise, then softened. “Only my mom calls me that,
Svi’no.”
The sparkling starlet fluttered out from the shadows, her expression
somewhere between aggrieved and pissed. “You didn’t tell me Prybolt had
gone missing!”
“T,..” Crash slinked back to her desk, shoulders slumped. “I didn’t, no.”
“Tf I’'d known I would’ve—”
“T didn’t want to use something bad happening to get a favor out of you,
okay?”
For a moment, they just looked at each other.
“Weren’t we arguing or something?” Crash pointed out, because the
moment seemed suddenly serious in a way she couldn’t wrap her head
around, so it needed to end, whatever it was.
“You would never”—Svi’no thunked the desk, affecting a pretty solid
Crash imitation—“ever”—and again—“put me in danger! I am your
friend!”
Crash slammed the desk, too, and got up in Svi’no’s face. “That’s
right!”
“And? You do realize you don’t have total control over every, or even
any situation, don’t you, Crash?”
Crash scowled. “That’s a matter of opinion, and I disagree.”
Svi’no flashed a cruel smile. “Then why did I almost die today?”
Footsteps clomped up the stairs toward the office. Big heavy ones.
Crash closed her eyes. Everything had finally gone right, more or less—she
had wrangled it back to right against all efforts of the galaxy, in fact. And
now here came the galaxy getting its revenge.
Svi’no retreated into the shadows again as the door slid open and Tamo
the Savrip ducked in, those huge arms threatening to shatter everything in
sight. He looked crestfallen, like he was terribly sorry about having failed at
the one job he’d been given, which, of course, he had, which was exactly
the point, but he was speaking Savripian or whatever that gargled roaring
cacophony was called, so who could say, really?
“The mighty Tamo apologizes for not murdering the beautiful starlet
like you asked him to,” 10-K8 announced helpfully, popping up from
behind a file cabinet.
Crash dragged a hand down her own face. “Kayt! Have you no ability to
read the room?”
Svi’no swept forward out of the shadows, a grand entrance as always.
“Murder, you say?”
“Hrraaaagh!” Tamo roared, and then immediately laid waste to about
half of Crash’s cluttered office with a single sweep of his arm.
Svi’no slipped easily out of the way. “Why, Crash, I do believe this
beast thinks he’s supposed to murder me!”
“Tamo! Down!” Crash yelled. Then she lunged to the ground as the
huge creature’s next swipe sent shards of a statue and several caf mugs
exploding around her. “Stop!”
“Tt’s fine,” Svi’no said, once again slipping away from Tamo’s grasp
with a smile. “I got this.” She pulled an elegant pistol out of her robes and,
with a tiny fwip, sent one dart flying smack into the Savrip’s neck.
Tamo stood up very straight, groaned, and then mumbled something that
Crash didn’t need translated and slammed to the ground with a wheeze.
“The mighty Tamo says, ‘Not again, you—’ ”
“We get it!” Crash snapped, jumping to her feet. Then she glared at
Svi’no, who made a big show of blowing nonexistent smoke from the tip of
her dart gun.
“He’s sort of cute when he sleeps like that,” Svi’no said.
Tamo let out a horrific snore.
“Now do you honestly think that this guy would’ve been able to pretend
to want to murder you?” Crash demanded.
“Well, that’s hardly—”
“And anyway,” Crash went on, trying desperately to hold some sense of
the high ground, “you!”
Svi’no blinked with mock innocence. “Me what?”
“All that mess about me almost getting you killed and you could’ve
handled him all by yourself!”
“But I didn’t, did I?”
“You didn’t,” Crash said, sitting back down, deflated. “Why didn’t
you?”
“Because you needed my help, silly! What’s the point of staging an
elaborate drama to show what great bodyguards you all are if the person
doesn’t even need protecting?” The galactic superstar got right up in
Crash’s face, bringing a gentle and obviously way-too-expensive fruity
perfume cloud with her. “And I actually trust you, even though you’re
intent on lying to everyone you care about.”
Crash had long since given up any thought of anything happening
between the two of them. It was a question of leagues: Svi’no was in one all
her own. And anyway, they’d almost instantly become way better friends
than Crash would’ve imagined possible, so what was the point in ruining
that?
Still—when she got up close like that, Crash was never sure what to do
with her body. “TI...”
“But Ill tell you this,” Svi’no said, whirling majestically away and
heading for the door. “We’d all trust you a whole lot more if you would
simply trust us back.”
“But—”
She stopped at the doorway, glancing back with melodramatic flare.
“Just imagine the power you would possess with actual friends instead of
just people you manipulate into doing your bidding even though they love
you and would do anything for you anyway!”
And then she was gone.
For a few moments, Crash just sat there, listening to the not-so-gentle
Savrip snores as the twinkling lights of Coronet City and final rays of the
setting sun illuminated the otherwise dim office. The gentle early evening
glow sparkled over the bay, mingled with the brilliant golden haze of the
buildings and streetlamps. It always brought Crash a sense of peace, the
way the city itself seemed to defeat the darkness of night. Even with all its
secrets and shadows, Coronet was made of light, and Crash loved it with all
her heart.
“Ts that true, Kayt? What she said?” Crash stood, stepped over Tamo’s
huge slumbering form, and stood in front of the massive window
overlooking Sionaro Shallows and the brightly lit flyways stretching across
it. It seemed like the whole city was ablaze at night, and this fleeting
moment right between day and night was always Crash’s favorite.
“Ah, in some ways, sure,” 10-K8 said quietly. “But you are also in
mourning, I’ll remind you.”
“He’s not—”
“He’s not dead—that we know—but he’s also not here,” the droid said
sharply. “And we both know it’s very unlikely he’ ll be—”
The window blinds suddenly slid shut with a whir. “Hey!” Crash yelled,
then she gulped. A towering figure stood silhouetted in the doorway. Crash
knew those robes and that hunched-over position.
“Ezvangolt? What’s going on?”
He didn’t answer, just stood there staring. Of Prybolt’s however many
hundreds of Grindalid siblings, Ezvangolt was the only one who had stayed
close with him after he left the tunnels to become one of Crash’s best
bodyguards. He would even come by for dinner sometimes, and had turned
out to be pretty good company once he relaxed and got some food in him.
But this was weird.
“You can’t just come in here, closing my windows and not answering
my questions, budzo!”
The Grindalid immediately proved her wrong by hitting the control
panel again. The far window slid shut.
“IT don’t appreciate tha—” More boots clomped up the steps, shutting
Crash up. Then more Grindalids appeared in her doorway. “This is not
gonna be good,” she muttered, “whatever this is.”
“The Exalted Mother Fastidima,” Ezvangolt announced as several other
Grindalids walked in carrying a pallet with an even taller robed figure on
top. She wore a dark cloak with various chained jewels dangling off it that
jingled softly as she slinked off the pallet and then reared up to her full,
terrifying height over Crash.
“My dear child,” Mother Fastidima moaned regally. She pulled the front
of her cowl away, revealing that shiny white flesh, some of those squirmy
little arms, and the dripping folds of skin around her enormous glistening
mouth. “I do so hate to be out and about in that thing. I’m sure you
understand.”
“Of course,” Crash said, doing everything in her power not to flinch or
act intimidated. “It’s good to see you again.”
“Please don’t lie to me like I’m one of your little hoodlums,” Mother
Fastidima said. “Like ... my son.”
“Mother Fastidima, I promise we’re searching everywhe—”
The Grindalid silenced Crash with a wave of her bejeweled claw. “I told
him. I told him this would happen, you know.”
“T didn’t know, but I figured you probably had.”
“Hm, he didn’t talk about me much, did he?”
“All the time, actually,” Crash said. Usually it was to complain, but that
wasn’t the point.
“Well, the matter remains what it is. If young Prybolt was killed, we are
honor bound to devour his killer, of course.”
“Of course.”
“And if his killer isn’t found, well, someone has to pay.” She aimed her
tiny squinting eyes pointedly at Crash. “Tradition says the one who is
responsible for the murdered Grindalid shall pay the price when the
murderer is unknown or unavailable, hm? Did you know that, Crash?”
“Maybe he wasn’t murdered?”
Mother Fastidima made a horrific raspy choking sound that Crash hoped
was her actually choking. No dice. It was laughter. “Wouldn’t that be
something!” the towering worm chortled.
“Tt’s possible,” Crash said, pressing the point. “There was no—”
“Of course there wasn't a body,” Mother Fastidima snapped. “We’re
Grindalids, you sunsoaker. We disintegrate. My poor, precious baby is
probably dust. Because of you, Ongwa.”
“T didn’t—”
Mother Fastidima craned her long body all the way down so her snarling
slimy face was right in Crash’s. She didn’t smell nearly as good as Svi’no.
“Did Prybolt ever tell you how many worms the Garavult Clan counts
among its family?”
“Nine hundred and seventy-six,” Crash said smoothly.
“Mmm, that’s a very out-of-date number, unfortunately, short by almost
half. He must’ve told you quite a while ago.”
“Just last month, actua—”
“Exactly my point,” Mother Fastidima rasped. “We grow exponentially
every day, my child. We are a terrible enemy to have at your back, because
a good portion of the tunnel system of greater Coronet City belongs to us.
Which means we can appear anywhere we want. You see?”
Crash nodded once, refusing to flinch or even wrinkle her nose against
the rising stench of bile and sewer water.
Mother Fastidima reared back, those tiny probing eyes still locked with
Crash’s. She pulled her cowl back over her face and crawled smoothly back
onto the pallet. There, she paused. “You have until three sunsets from now,
my dear. After that, you belong to us.”
“You’re not even gonna clean up all this goo you dripped on my floor?”
Crash demanded, but the worms had made their exit.
She slumped back into her chair and let out a long sigh. Now there was
a Sleeping Savrip and a puddle of sewer-worm muck on her floor.
“What are we going to do?” 10-K8 asked, reappearing glumly from the
shadows.
“Find Prybolt,” Crash said. “Or find who killed him.”
RW
TEN
THE TALMADGE
“Ty ey, Reath?”
“Hm?”
“Have you ever tried this before?”
“Uh-uh.”
“So how do we know if it’s working?”
“T think we’|l just know, Ram.”
“T guess. But—”
“You know how we’re never gonna know if it’s working?”
“How?”
“By not being able to do it because you keep talking instead of
focusing.”
“Oh, wow.”
“Uh-huh.”
“Wow, wow, wow. It’s like that, huh?”
“Indeed.”
Ram Jomaram and Reath Silas sat cross-legged a meter apart on the
deck of the cargo hold. The idea was to try to link their minds via the Force,
the way Master Avar Kriss had done during the Great Disaster—except
she’d done it with hundreds of Jedi, and they were just trying to do it with
two. Kantam and Buckets of Blood had done something similar recently,
too—Ram and some of the others had walked in on them one day, both
seated, facing each other, in deep meditation, preparing, they said, for the
task ahead.
Ram and Reath had made it about ten minutes sitting that way in silence
before Ram felt the need to pipe up. It wasn’t that he didn’t think it would
work; it was that he had no idea how it was supposed to work, and without
the how—well, how exactly was anyone supposed to do anything without
the how?
“T think we should try it while levitating,” Ram suggested.
“T’m awful at levitating,” Reath said.
“Me too.”
“Well, there goes that idea.”
“What if I float you?”
“Huh?” Reath popped one eye open, which Ram was relieved by,
because he’d had both his open for a good five minutes already.
“T’m saying,” Ram explained, trying not to be too frustrating, “we’re
both no good at floating ourselves, but I know how to float things really
well—TI do it all the time when I’m taking things apart and putting them
back together. And I’m sure you’re good at it—you’re good at basically
everything!”
“T am?” Reath looked genuinely stunned by that, like it was some big
revelation.
“Obviously?” Ram scoffed. “You’re both bookish and badass! How
many people is that true of?”
“T never thought of it that way,” Reath admitted.
“Besides Lula, of course, but she’s the exception to just about
everything.”
“True,” Reath allowed. Then: “Okay, float me.”
“Really?” Ram gaped. “I didn’t expect you to say yes!”
“Go ahead.” The older Padawan closed his eyes and straightened his
back, sliding back into meditation just like that. Ram resisted the urge to
say, See! Even good at meditating! Instead he focused on lifting Reath.
Like every task, using the Force was a matter of steps. Each step had its
place and led to the next one. If you could focus on the one you were doing
—and not the fifteen others up ahead or whether you’d done the earlier ones
right—amazing things tended to happen. That’s what Ram had learned,
over and over. The most important thing was the thing right in front of your
face.
In a moment, that thing would be Reath, but he had to back up a step.
There was something even more important, even more in front of Ram’s
face, that he had to concentrate on first: the Force.
Ram allowed that sense of flow to move through him like a slow tide. It
almost tingled; it almost had a sound. But more than anything, it was a
certainty. A sense of something huge being present within Ram, as part of
Ram. Then all he had to do was follow it on its course through the galaxy
and put his mind toward imagining where it would go, what it would do,
aligning what he wanted to happen with the path of the Force. And then
watch it happen.
It was less like pushing a button on a machine and more like having a
best friend who was incredibly powerful. Kind of like Reath, in fact, which
brought Ram’s attention exactly where it needed to be, on the Force as it
moved around Reath and then lifted him into the air, at first ever so slightly,
as if testing how much effort it would take, then suddenly with ease.
Reath, eyes still closed, let a big grin stretch across his face. “Niiiice,”
he whispered.
Ram wiggled his eyebrows at himself. “Okay, your turn.”
A huge gust of wind seemed to whoosh across Ram and then spin him
upside down and whip him sideways into a pile of sleeping mats and
cushions, knocking the breath out of him. “D’oof!”
Reath collapsed with laughter, opening his eyes just in time to see a
pillow swinging directly at his face.
RW
ELEVEN
THE TALMADGE
66 S ounds like you lost your sparring partner,” Kantam said as
another crash came from the cargo hold, followed by more giggles
and yells.
Cohmac shrugged. “Bah, he was getting too good for me anyway.
Probably better that he gets a change of pace.”
Space slid past, the whole churn of the galaxy reduced to a blur of
smooth-lined stars. Kantam loved hyperspace, the way it felt like entering
another reality, outside of the regular one. Everything seemed slightly
different once a ship launched into that wild slipstream, and it was always a
ferocious and beautiful reminder of how truly in motion every moment of
space and time was. The normal world seemed so still after traveling
through the perception-defying corridors of hyperspace, but Kantam tried to
hold on to the lesson of constant motion, the fluidity of reality, every time
they had the opportunity.
“You ever... 2” Cohmac said, but then he just looked out the viewport
instead of finishing.
“You remind me of Lula,” Kantam said warmly. “She finally found
something she can’t talk to me about, and what does she do? Come tell me
exactly that.” They threw their hands up. “What am I supposed to do with
that?”
“Appreciate her openness and keep it moving,” Cohmac said.
“That’s my plan, yes.”
Cohmac spat it out. “You ever think about doing a walkabout?
Wayseeking?”
“Like your friend Orla, you mean?”
“Something like that,” Cohmac said, his voice a low rumble.
“T did, actually.” Kantam didn’t talk about it often, but the memory was
always there, a strange sparkling moment amid many others. “When I was a
Padawan.”
Cohmac sat up, stunned. “Master Yoda let you do that?”
“Heh. I think he knew if he didn’t, it would’ve been the end of things
between me and the Order.”
“But ... why?”
“Why does anyone do anything ludicrous and obviously dangerous?”
Kantam said with a hoarse laugh. “Love.”
“Go on,” Cohmac said, getting comfortable.
Sy
THEN
He was eighteen and lithe, an acrobat in a circus passing through Endovar,
and Kantam had never seen anyone like him. The boy seemed to hover
between each swinging hoop, like time itself slowed around him. Then he’d
grasp the next one and spin at impossible speeds around it, release, and
launch himself so far into the air he’d seem to become a speck. Up there,
yet another hoop awaited him, and he’d tangle around that one and continue
his routine like some kind of muscly tights-wearing angel hopping easily
from cloud to cloud.
The boy had to be Force-sensitive, Kantam thought at first, but no.
Watching more carefully on the second night, they could tell it was all
within the realm of a non-Force-user’s abilities—just very, very difficult.
And it wasn’t just the exertion and skill at play; it was the grace of it all.
“Aytar,” the boy said, walking through the stands and coming face to
face with Kantam after Kantam had sat in the front row of the sweaty circus
tent for the fourth performance in a row.
“Padawan Kantam Sy,” Kantam said, and Aytar laughed, but not in an
unfriendly way. “What?” Kantam asked, smiling without fully knowing
why.
“No, it’s just I’ve heard about you lot—the Jedi, right? And I thought
you might be one, but I wasn’t sure.”
“The robes,” Kantam said, still smiling much more than they wanted to
be.
Aytar made a growling sound that Kantam wasn’t sure what to make of,
then said, “Can I be a Jedi?”
“You can be anything you want,” Kantam said, too quickly to stop
themself, realizing only afterward that what they were doing was, in fact,
flirting. Flirting back, technically. But still.
“We both know that’s not true.” Suddenly they were very close together,
and the flickering torches around them, or perhaps the hot Endovar night
winds—something—was making Kantam sweat more than they usually did.
“But I like how it sounds anyway.”
“Well, everything is possible,” Kantam said.
“You’re dangerous, Padawan Sy,” Aytar countered, suddenly serious.
The moment had broken, but in doing so it became something else,
something somehow much more intense.
Kantam adjusted their face accordingly, that huge grin finally gone. “I
don’t think I’m the dangerous one, actually.”
That night, they walked. The wispy salios bushes that Endovar was so
famous for seemed to lean extra low, grazing the tops of their heads as they
strolled along winding dirt paths through forests and fields and finally out
to the crashing waves of Santiv Ru Bay.
“What time is it?” Kantam asked, once one conversation that had been a
random offshoot of about three others finally wound down.
“Who cares?” Aytar suggested. Kantam agreed, and they sat beside each
other in the sand, just out of reach of the spraying foam.
An old Mon Calamari man hobbled past, nodded at them, and then
wandered off. Somewhere nearby, the sounds of another wild carnival,
drums and shouts, simmered through the night. Beyond that, the Jedi
temple, with its dim hallways and reverent silence, awaited Kantam’s
return.
For the first time in their life, Kantam didn’t want to go back. That
silence didn’t seem like the sweet solace it usually did. It seemed menacing,
unforgiving. They sighed at the thought, how suddenly everything could
change.
“What’s wrong?” Aytar asked, and meant it.
Kantam shook their head. “Master Yoda knew this would happen.”
“Who?”
“That’s why he held off my knighting. Now I understand.”
“What are you talking about?”
Kantam finally met Aytar’s eyes. “I’m ahead of everyone else in my
class. I’m higher ranked in combat and meditation and basically everything
else than most of my elders. Even Master Yoda has said I’m the most
disciplined Padawan he’s ever trained and one of the most connected to the
Force.”
“And yet?”
“And yet nothing. I’m fine with it. I’m not in a hurry to be knighted.
It’l] happen when it happens. But everyone around me keeps wondering
when it’s going to happen, why it hasn’t happened yet, I’m so skilled, blah
blah blah. And I know it’s not about skill. It’s deeper than that. And Yoda
knows that, but still ... there was something, I think, we were both waiting
for to happen.”
“And?”
“And I think it just did.”
RW
TWELVE
CORONET CITY
rash stood under an awning as rain covered the empty streets
of the Syllain District. She had the whole block memorized now. That
fishmonger with its coppergrins and garsmelts hanging in the window, fresh
ones every day. The two vacant storefronts, their entrances covered with
competing political posters for various candidates Crash had helped protect.
The way the cobblestones felt beneath her boots. The crumbling part of the
curb, not far from where it sloped downward slightly toward the sewer
grate.
The scurry of screerats had its own particular rhythm in each
neighborhood, Crash had realized a while back. The Syllain rats emerged
around dusk and worked well together, passing scraps of food along some
kind of assembly line system until one of them vanished underground with
it, presumably to divide it up among their young.
None of this knowledge had revealed even a tiny hint about where
Prybolt or Tralmat or Ovarto or the pups might be, though, so what damn
good was it?
Crash sighed, then clenched her fists with irritation.
She’d gone there every night since Prybolt and the others had
disappeared. She’d walked maybe hundreds of circles around that
ridiculous stump of a building where that strange late-night rendezvous had
been scheduled. It appeared to be like all the other ones in the area—just a
big bright-orange storage unit of some kind. There seemed to be only one
door, although somehow that didn’t seem right to her, and no windows. It
was listed as public property, and the city tended to use those things to keep
random equipment near whatever project was happening. Nothing too
abnormal there.
She’d pored over the data for the run. Prybolt and Ovarto had served as
their own advance team. Earlier that day they’d taken the three hounds and
swept the neighborhood within a five-block radius of the meeting site for
unusual activity, sniper nests, or random irritating reporters like Malfac
Orfk, who were known to sometimes pop up during secret meetings,
microphones out, cam droids rolling. And ... nothing. They even checked
the sewers and tunnels running undermeath the area—a danger point Crash
had to remind most of the team about over and over. But Prybolt was a
Grindalid, and the tunnels were his home. Also, he prided himself on being
a good listener. Whether Crash was relaying info or, on the rare occasion
she needed to, pouring out her heart about something, he knew how to sit
with her words and take it all in, how to respond in a way that let her know
he’d heard and reflected. And then, when it was time, he’d ask questions.
And they wouldn’t be those corny questions people asked when they
already knew the answers or just to sound like they were paying attention.
Prybolt would ask real questions that always made Crash have to think
harder about whatever was going on.
Damn, she missed him.
She stepped into the street, let the rain cover her.
Nomar Tralmat, whom Prybolt and Ovarto had been protecting. That
was a whole other part of this mess she had no idea what to do with. Secret
late-night meetings among otherwise boring bureaucrats were also nothing
unusual in Coronet City.
Tralmat was one of the four City Fathers, and while, yes, his purview
included the Coronet municipal police, he was basically a bureaucrat—pure
data pusher. And not one of those ones who loved the limelight, either.
Sure, crime had spiked some in the past few months, but it was random
thuggery, nothing organized, and there hadn’t been any threats reported
against him.
He had recently hired a slew of new officers to deal with both the rising
crime and those high-profile star cruisers being built over in the yards, and
that had been a popular move overall, certainly nothing controversial
enough to have anyone bother disappearing the guy.
But Tralmat was gone without a trace, and so were Prybolt and Ovarto.
And the pups.
It just didn’t make sense. And if there was one thing Crash hated, it was
when things didn’t make sense.
“Tt just doesn’t make sense,” she said aloud. Then she took a sip of caf.
“Tt really doesn’t,” Svi’no said, appearing apparently out of the ether
beside her.
Crash splortched her caf into the rainy street. “You have absolutely got
to stop doing that!”
Svi’no shrugged, forever unimpressed to death. “Maybe you should pay
better attention to your surroundings.”
“That’s the thing,” Crash groaned. “I do! Who do you know who pays
better attention to their surroundings than me? It’s literally my job! And I
am great at it!”
“You’re yelling.”
“T am not yelling!” Crash yelled. “I’m sad!”
“T know, sweetie.” Svi’no pulled her into a sparkly, aromatic hug, and
they stood there like that for a few moments, letting the rain fall while
Crash sobbed quietly into her friend’s expensive blouse.
“Tt’s just ... one thing”—Crash whimpered like a daytime holo
melodrama goober—“and then another, and I... can’t seem to ...
hrggggg...” She sighed, then slumped. “Thanks for being here.”
“Tt’s what friends are for and all that,” Svi’no said, floating back a little
to give Crash room to snorfle more nastiness.
“Also,” Crash said, already feeling more on the ball now that she’d had
a good sob, “how exactly do you keep creeping up on me? No one else can
do that except—”
“Caf?” 10-K8 asked right beside Crash.
“Gah!” Crash leapt back, then put her face in her hand. “Yes, please.”
She took the mug from 10-K8 and glumly sipped at it. “Mm, caf.”
“You’re welcome,” 10-K8 said chipperly.
Crash reeled on both of them. “Now! What are you two doing here?”
“Who said it was just two?” a gruff voice demanded.
“Reeeargh ragh!” came a Shyriiwook agreement.
“Fezzonk? Tangor?” Crash gasped as the towering Dowutin and the
silverback Wookiee walked out of an alleyway side by side. Smeemarm and
Barchibar came just behind them, along with a whole crew of sniffing,
keening Corellian hounds on chain leashes.
“Aw, shucks, the whole team is here?” Crash gushed. “I didn’t ...
Why?”
“To help you out, silly,” Svi’no chided. “I asked them to come. You
don’t have to—you shouldnt be doing this alone.”
“IT know, but ... I guess.”
“You didn’t want to bother us since he’s your best friend,” Fezzonk said,
rolling his eyes and stroking the massive horns jutting out of his chin.
“Well, guess what? He’s our friend, too, and so is Ovarto.”
“And Beeta, Serenata, and Sibak!” Barchibar added, to howls of
agreement from the hounds.
A roar came from behind them, and Tamo stepped out, smiling
agreeably at everyone.
“You brought the Savrip, too?” Crash said. “Uh, did anyone tell him not
to kill Svi’?no?”
“Affirmative,” 10-K8 chirped. “Turns out he’s a fan, so he was quite
relieved.”
“Yeah, I haven’t forgotten about that, Crash,” Svi’no added. “Just so
you know.”
Crash turned to the team. “Well, since we’re all here! Let’s do what we
do best.” And without another word, everyone spread out across the small
block.
Smeemarm slithered down the nearest sewer entrance, muttering
something to herself about litter. 10-K8 released a crew of small cam droids
that went sputtering and chirping through the air, instantly sending her more
reams of digital information than any organic could fathom. Fezzonk found
a ladder nearby that led to the rooftops, his favorite place to be besides in
that little flier of his, and there he perched like some giant, murder-faced
gargoyle, surveying the world below. Tamo and Tangor, now buddies,
apparently, trolled the perimeter, searching the ground for clues. And
Barchibar, with a single word of encouragement—“Find”—
simply released the hounds into the rainy Corellian night.
“Tt feels good to let people in sometimes, huh?” Svi’no said, seeing
Crash with what felt like her first real smile in days.
Crash conceded the point with a nod and leaned her shoulder against
Svi’no’s.
“Ah, about me being good at disappearing,” Svi’no said, an
uncharacteristic flash of nervousness in her voice. “I thought, maybe...”
Crash whirled on her, eyes wide. “You want to join the team?” she
yelped. “Oh, stars, Svisvi! I didn’t think ... But! Of course!” She wrapped
her arms around Svi’no and squeezed with all her might.
“Haha,” Svi’no giggled nervously. “I guess I didn’t think, either, but ...
truth is I’ve always—Ow! Not so hard please!—I’ve always wanted to, and
I need a break from this starlet crap, seriously. It’s exhausting. And I am
really good at blending into the background....”
“We would be honored to have you! Want to be opposition
reconnaissance chief?”
Svi’no grinned mischievously. “That’s my middle name, in fact.”
A howling commotion at the far end of the block yanked them both
from the moment.
“What is it?” Crash yelled, running through the pouring rain. The
hounds had gotten something; that much was clear. They’d all congregated
around ... Was that... ?
“Serenata!” Barchibar hollered, bolting past Crash and shoving through
the crowd of hounds to where Serenata sat, wagging her stumpy tail and
shaking her face tendrils happily. “You’re okay!”
“T gotta say,” Crash said, walking up beside him and giving Serenata
some scritches, “bringing the other pups was an ace move, Barchi. She
must’ve smelled them and come looking. We’re too far away from the base
for her to know how to find her way back.” She patted his shoulder, then
squatted down to get a better look at Serenata. “Nice work, man. Now we
just ... Whoa.”
Something was in the hound’s huge back teeth. A scrap of something.
Crash got closer. “Is that... ? Barchibar, can you hold her jaws open for
me?”
To his credit, Barchibar didn’t hesitate. He just pulled on those thick,
bite-proof gloves of his and straddled the hound, then gently placed a hand
on either side of her mouth and opened it.
Crash blinked through the haze of bad breath and slimy saliva.
Very, very carefully, she reached in and yanked out what turned out to
be a single shred of fabric.
The same kind of fabric as Prybolt’s robes.
Crash stood, blinking through all the possibilities this implied. None of
them made much sense.
She shook her head. “Well, kark.”
RW
THIRTEEN
GUS TALON
T he Er’Kit Ql rl was pretty cute, Graim Torv had to admit. Cute in an
awkward, uncertain kind of way, like she was still figuring out who she
was, her bright red face and big eyes wide open to the world.
Was she cute enough to trust, though? That was the question.
She’d just shown up at the barricades earlier that day, but that wasn’t
unusual. The Gus Talon Student Syndicate had put out a general call two
nights back for allies to come and join their picket lines with the union, and
folks had been flooding in from all over the system ever since. Soon the
picket line had sprouted barbwire like some vicious spiny plant sprung up
overnight (not unlike those Drengir creatures that had gone berserk in the
Outer Rim not long before, in fact!), and the CorSec unit holding them at
bay kept showing up in heavier and heavier armor.
The strikers and their various allies, some of them armed, had responded
by pelting the unit with fruits and the occasional bottle over the barricade,
and then CorSec had made a quick raid, scooping up some students who’d
been standing around, minding their business, enraging everybody even
more.
So events were going about normal, Graim figured, for this type of
thing.
Okay, “this type of thing” wasn’t really something he could honestly
say, since he was just a third-year bio major and had never even been to a
protest before, let alone some giant barricaded run-in with CorSec cops that
the whole system had eyes on. But it seemed about right, from the holos
he’d watched and from what his older sisters, Brana and Fai, said. He
couldn’t wait to see their faces when he told them about this. They’d always
been the more rebellious ones in the family, and Graim had watched starry-
eyed when they staged a takeover of their college admissions office on
Corellia and got wall-to-wall media coverage before winning a somewhat
conciliatory watered-down version of their demands from the admin.
Anyway, the Er’ Kit girl, who was tall for her species, seemed to think
all this was pretty cool. She had a million questions and looked at Graim
with absolute awe.
It was endearing.
Sabata, her name was. She said she’d dropped out of Coronet U but was
hoping to go back in the fall after seeing the galaxy some. She wore an
oversize military jacket that she’d probably stolen from her dad. “Want to
cause some trouble?” she’d said with a wicked and toothy grin just as the
sun was setting.
Graim looked up from the sign he was painting. He let the commer of his
mouth tilt up just slightly, eyes sleepy, head craned to one side. He knew
she was taking him in, enjoying the sight of his bare shoulders and unkempt
hair. He liked being looked at. “What kind of trouble?” he asked, getting to
his feet and standing close enough to her to feel the tiny puffs of her breath
on his face.
She raised one eyebrow, not backing away. “The kind that will make
headlines.”
“Go on.” He wanted to kiss her, but there were a bunch of people
around, so what was the point? Later. Later would be better. For now, there
was adventure to be had. Yes, he could trust her. How could he not trust that
easy smile and sweet mischievousness?
“That building.” She pointed past the area between the barricades and
the rows of CorSec officers, to where the campus library rose above it all, a
stern, bright tower against the darkening sky. “It can be seen for kilometers
around. CorSec has the media cordoned too far away to get any good
footage of what we’re doing, so the messaging is lost, you know?”
“T like how you think,” Graim said smoothly. “Banner drop?”
She nodded, pleased that he was picking up what she was dropping.
Then she patted her satchel. “Already got it painted and packed up and
ready to go.”
“Better yet,” he said, “we go late at night, right? Then when they wake
up, it’ ll just be there—pow!”
For the first time since she’d arrived and attached herself to Graim
earlier that day, Sabata’s smile fell. Even her big Er’ Kit ears drooped,
adorably. “It’s just ... I was so excited to go now. I figured we could catch
the little bit of sunlight still out and everyone would see tonight how much
power we have! How we’re unstoppable! You know?”
Graim wanted to stand his ground, but he’d really just been making up
stuff anyway. He had no idea whether the next day was better than that
night. He squinted as if he were considering all the different possibilities,
nodded slowly, then brightened. “You know what? I think you’re right.
Let’s do it!”
It was worth it, giving in, just to see Sabata brighten like that. They set
out immediately, working through surly crowds of organizers, students, and
all the random riffraff who’d shown up.
Brana and Fai were going to go bonkers when they found out he was
behind this. The whole sector would see what he’d done. Holos would show
the footage for days.
At the far edge of the barricades, the CorSec presence was thinner, and
it wouldn’t be hard to slip across, past their lines, into the library. Perfect.
Clearly, Sabata had thought this out pretty well.
She motioned him to stay down while she stole over first. He would’ve
objected, but she seemed to know what she was doing, and he wanted to see
the best way to go.
She winked at him, then seemed to vanish into the shadows. A few
moments later, Sabata reappeared at the library side entrance, her back flat
against a wall that kept her out of sight from the five or six CorSec troopers
in riot gear standing nearby, their backs turned.
Graim stood, his palms suddenly sweaty. This was it—how heroes were
made. He waited a beat to make sure the cops were still looking the other
way, then, with Sabata signaling him frantically, he burst into a run.
Up ahead, he saw Sabata raise a blaster. Where had she gotten that? She
wasn’t pointing it at him, of course, but she was aiming directly at the group
of CorSec cops. “No!” Graim shouted just as Sabata let off five blasts, each
of them slamming into a cop.
“Hey!” someone yelled as screams sounded and boots clomped nearby.
Graim skidded to a halt, his brain short-circuiting between fear and
confusion. It had all happened so fast, and five CorSec cops were laid out
on the ground, some squirming, some eerily still. Smoke plumed upward
from their wounds.
“Hurry up!” Sabata yelled. “They’re coming!”
He stepped once toward her, still unsure what was happening, and then a
blaster bolt thwacked into him from the side and sent him sprawling.
It burned! Stars, it burned!
More blaster fire smashed the pavement around him. He was going to
die. Graim stumbled up and dashed with all the strength left in him toward
the library.
Sabata grabbed his arm as he reached her and yanked him inside amid a
hail of more blaster fire.
“Why did you... ? Why did you... ?” he mumbled, following her into
the bright mezzanine at a desperate, lopsided run. Words didn’t make much
sense. His breath came short and ragged. Most of all, that burning, sizzling
sensation kept expanding outward from the spot on his right flank where
he’d been hit. His insides were probably toast, some of them anyway.
Maybe, though, maybe Sabata could get him to a doctor somehow ...
something. Anything.
“This way.” She led him to the right down a dark corridor, then hit a
glowing button to call the turbolift.
He slammed his back against the wall, barely standing. “Why did ...
why did you do that?” he finally asked as a quiet ding sounded.
“Come, stand here,” she said, holding him up right in front of the
turbolift doors. They slid open. She looked him in the eye and smiled.
“Because I needed you to be seen.”
“Me seen?” His brain kept transmitting frantic signals at him to run, find
help, get away, get away. But there was nowhere to go, and he could barely
stand. “For what?”
“So they know it was you that did this.” She shoved him hard into the
small compartment. He landed with a painful thud that he was pretty sure
ruptured some already frizzle-fried part of his innards. When he looked up,
gasping for air, Sabata was sliding off her jacket. She tossed it in after him.
It was too heavy. The pockets must have been filled with something ...
several somethings, Graim realized, squirming to get up, all the alarms
inside him clanging to life at once.
Whatever was in those pockets was heavy and round and beeping
urgently.
The last thing Graim saw was the turbolift doors closing on Sabata’s
smiling red face.
Na
FOURTEEN
CORONET CITY
am tossed the last duffel bag into his and Reath’s bunk at the
Coronet City Jedi quarters and brushed himself off. “Hey, can I ask you
something?”
Reath pulled one arm across his chest and then the other, stretching. “Of
course! What’s up?”
Tip and Breebak had wandered off to explore the kitchen and were
probably already busy setting mildly irksome booby traps or something.
Kantam and Cohmac had headed off to find the administrators, and the
whole place seemed basically empty.
Even though the two boys hadn’t hung out much before this and had
spent the entire flight to Corellia demolishing each other in an epic battle
that ranged across the entirety of the Talmadge and almost made even
Kantam lose their patience—Ram felt like he could tell Reath literally
anything. He was pretty sure he could say, “Reath, I am actually several
Bonbraks wearing a human suit,” and Reath would raise his eyebrows
genially and say, “Hmm ... let’s discuss.” And then go find an ancient Jedi
text about it.
Fortunately, this was slightly less weird, but still hard to explain. Ram
sat on one of the beds and pulled his goggles down over his eyes, which he
figured everybody knew meant he was about to say something serious. “It’s
like ... ve lost track of how many months have passed since the attack on
the Republic Fair. And I’ve been with you all fighting the Nihil, yeah?”
“And the Drengir,” Reath added. He’d been part of the crew that first
faced the evil plants, and he’d gone toe to—root?—with them a number of
times already.
“Right. And like ... me? I grew up never really thinking I’d even have
to draw my lightsaber, you know?”
“Same!” Reath said brightly. “I was a library kid, through and through.”
scary at first, right? Really scary. Back on Valo, during the attack? Basically
every second, I thought I was going to die. I still kinda can’t believe I
didn’t. Plus, so many others did. But that feeling was also only during the
first couple hours.”
“Right,” Reath said. “Because the mind and body can’t sustain that
much constant strain. It’s like running laps over and over, thinking you’re
going to die. At some point, you have to, you know ... stop. But you can’t
just pause and take a nap in the middle of a huge galactic conflict, right>?”
“Exactly!” Ram said, hopping up because he felt a joke coming and he
wanted to mark the moment. “Unless you’re Master Obratuk! Ahhh?” The
legendary Parwan Jedi had famously gone into a temporary state of
hibernation on a mission recently, leaving Farzala to negotiate with the
Hutts. He had woken up just in time to chop an enemy droid into little
pieces and help save the day, though.
Reath tilted his head, eyebrows raised. “That wasn’t bad, but you have
to do it deadpan, Ram. If I can’t tell you’re about to tell a joke, it’s funnier,
because then it catches me off guard. But if you keep winking like that, I
see it coming a kilometer away. Get it?”
Ram nodded, determined to get it right. “Deadpan, no winking. Got it,
got it, thanks.”
“Anytime. But what I’m saying is, I get it. Ever since, I don’t know, the
past three or four times I almost died—I feel like I can’t figure out everyday
life because I’m constantly thinking about being attacked by more Drengir
or getting shot at. And so it’s like I’m lost all the time. I don’t know what
the path forward looks like because it seems to keep blowing up.”
Ram blinked at him. He hadn’t been expecting Reath to share his fears,
and he definitely hadn’t expected them to be exactly the opposite of his
Own.
“What’s wrong?” Reath asked. He looked down. “I’m sorry, maybe I
shouldn’t have said all that. I know you’re figuring your own stuff out and I
just dumped all of mine onto you.”
“No,” Ram said quickly. “Reath, it’s okay.” It felt like the whole
conversation was spinning away from him. He was glad Reath had been
honest with him, even if it was a totally different experience. “I’m glad you
said something. Just hearing that another Padawan is struggling to make
sense of things makes me feel less alone.”
“Oh.” Reath looked genuinely surprised, then relieved. “Good.”
“For me, it’s totally different,” Ram said. Reath had been so honest with
him; he wanted to do the same. “With battle, I feel like I should still have a
lot of, I dunno—dread? A lot of emotions about it.”
Reath put out both hands like he was weighing two small objects. “I
mean ... isn’t that sort of what we’re supposed to be aiming for? A little
bit?
Ram scrunched up his face. “I hope not. I don’t think this is anything to
strive for. We’re supposed to be balanced. This doesn’t feel like balance. It
just feels empty.”
“Okay, I can see how that’s unnerving, yeah. On the other hand, you’re
not ruled by your fear, though. That’s good.”
“What if it’s my fear that’s keeping me from feeling fear?”
They both looked at each other for a moment.
“Are you scanning the Starlight archive catalog you memorized for an
answer?” Ram asked.
Reath guffawed and then looked somber. “Okay, yes. Haven’t found
anything yet, but I will!”
“Fellas!” a girl with bright pink hair said, barging into the room, wily
smile first, and startling both of them.
“Whoa!” Reath said.
“Tt’s a girl!” Ram yelled, jumping up.
She looked at them with puzzled amusement. “They really don’t let you
guys out much, huh?”
“Uh, can we help you?” Reath asked, standing beside Ram.
She looked about Reath’s age, a couple of years older than Ram, and
wore baggy green overalls and a sleeveless purple shirt with a hood. Utility
belts were slung over both shoulders, clearly filled with a ton of interesting
doodads and thingamabobs. “You guys are the Jedi from Starlight, right?”
The old Ram, back on Valo, would’ve quietly deferred to Reath to
explain that they were just humble Padawan apprentices and the Jedi
Masters were off politicking with the local Jedi.
The new Ram just extended his hand amiably and said, “Yes!”
AI
FIFTEEN
CORONET CITY
t wasn’t technically a lie but definitely wasn’t the whole truth,
either, Reath thought as the momentum of Ram’s not-quite-lie carried
them out the door and onto the bright, busy streets of Coronet City.
“Excellent!” the girl had said without a second thought—almost too
quickly, Reath realized in retrospect. Then she’d explained that she’d sent
the holorecording to the Republic officials.
“Crash!” Ram and Reath had both yelled excitedly, and she’d looked,
for the first time since she’d popped up, a little thrown.
That was definitely the moment when they should’ve let Cohmac and
Kantam know what was going on. Reath knew that. Ram probably did, too.
But they’d already committed to being the Jedi from Starlight, and calling
in their adult supervisors would mean admitting they hadn’t really been up-
front about that.
And anyway, Reath had to admit he was curious about this fast-talking
girl and what she had planned.
“Uh, yeah,” she’d said, already walking toward the door, the boys on
either side, following along easily as if it were the most natural thing to do.
And it had seemed natural, Reath thought, trying to put all the pieces
together as they strolled down a large boulevard, chatting like old friends.
“Anyway, I’m trying really hard to stop not telling people my plans,”
Crash said. “It’s ... a struggle, I admit it. But see? Even admitting that is,
like, a big deal, frankly. So, look, we have a few hours before the meeting,
and what I’m asking of you is a big favor, so I figured I could return the
favor in advance by taking you somewhere in Coronet City you’ve always
wanted to go! Because let’s be honest, you two don’t look like you’ve ever
been here before.”
“Wait, wait, wait, slow down,” Reath said, stopping in the middle of the
part of the sidewalk where apparently speeder bikes were allowed, because
Crash immediately yanked him out of the way as one whizzed past. “Oof!”
He whirled on her, trying to regain some sense of authority. “First of all,
I’m from Coruscant, okay? We didn’t grow up on Starlight. Doesn’t make
you more metropolitan than us just because you Corellians let people run
over pedestrians like barbarians!”
“Wow, touchy,” Crash said, but she was still smiling.
“Was that what you meant by deadpan?” Ram asked.
Reath exhaled and realized he was having fun. Sure, it was all weird and
happening way too fast, but still ... he liked Crash and how brazen she was.
And it was clear she didn’t mean any harm with her gentle jibes. In fact, it
was probably how she made friends. He let his scowl slide into a smirk and
nodded at Ram. “Yes, indeed it was. Take notes.”
“Ooh, are we practicing joke delivery?” Crash piped up. “I have some
tips!”
“Wait,” Reath said before she had a chance to zing him again. “What’s
the meeting you’re talking about?”
“Well, that goes back to me being up-front,” she said, “which in my
defense I was trying to do before you threw yourself in front of a speeder
bike!”
“T was on the—” Reath started.
Crash cut him off. “Which is absolutely your right and extremely
cosmopolitan!” She winked at him. He didn’t think it was in a flirtatious
way, but he’d long since given up trying to figure out how flirting worked.
Not well, that was how. At least not when he was involved in any way. And
that was probably for the best.
“You still haven’t answered us,” he pointed out, one eyebrow raised.
Was that flirting? He hoped not.
“Right. The meeting is of various city leaders and important people, as
well as me and my constantly humiliated and deeply bitter rival, Dizcaro!”
“Rival what?” Ram asked.
“Oh, yeah, I thought I’d told you,” Crash said, slapping her forehead. “I
run a diplomat protection company. And I need—trrrr—want you to work
for me! With me, rather! Temporarily!”
“What?” Reath asked.
“Can we go back to the part about doing us a favor?” Ram requested.
“Wait,” Reath said, stepping forward a little as another speeder bike
zoomed past, along with a stream of colorful Ithorian curses.
“The shipyards,” Ram said. “Where they’re building the fleet of MPO-
1400 Purgill-class star cruisers? Like the one that towed Starlight! Oh,
man! They did this one thing—”
“Yes, those shipyards,” Crash interrupted, with a knowing smile and a
wiggle of her eyebrows. “The ones that are basically impossible to get into
even for fancy Jedi like yourselves.”
“Yes, those,” Ram said.
“Thought you’d never ask. Right this way!”
And off they went.
“Wait!” Reath called, hurrying to catch up.
RW
SIXTEEN
CORONET CITY
. ‘O Kay, hold up.” Crash raised her hand as they approached the
turnoff that led to where two burly municipal officers guarded the
shipyard entrance. The boys stopped in their tracks and glanced around
warily. At least they knew enough to keep an eye out for trouble; that was
something. And they seemed overall to be sensible lads with good hearts.
Whether or not they were any use in a jam was another question, but time
would tell. She eyed them. “We have a deal?”
Ram grinned. “Abso—”
“Ram,” Reath said. “Hold on. We don’t agree to deals we don’t fully
understand.”
“That’s wise,” Crash allowed.
“The deal is this: you take us to the famous, impossible-to-get-into
shipyard that Ram is dying to see, and we...” Reath made go on circles with
his hands.
“Pretend to be my minions so we can solve the disappearance of my frie
—employees.”
“And whether the Nihil are responsible,” Ram added. “Our interests
actually align, basically.”
“Tf we’re helping you,” Reath said, “it means you’re being up-front with
us. We’re sharing information. Remember, we just met you.”
“And yet you find me strangely charming and reliable?” Crash
suggested.
“TI do,” Ram admitted.
“That’s beside the point,” Reath said. “But yes.”
“Yes, we have a deal, or yes, you find me charming and reliable?”
Ram and Reath traded glances. Then the older boy narrowed his eyes.
“Yes, I find you charming. Reliable remains to be seen.” He stuck out his
hand. “And yes, we have a deal.”
“Wizard!” Ram yelled, pumping his fist one time.
Crash blinked at him. “I’m going to understand that to be a good thing.”
She placed a single credit in Reath’s hand and another in Ram’s. “So here.
Let’s do it!”
Ram squinted at it like it might jump up and bite him. “What’s this?”
“Money,” Crash said. “For to purchase things.”
“T know that!” Ram growled. “But I mean—”
“You can’t pay us,” Reath said, offering the credit back to her. “We’re
Jedi. That would be ... weird.”
Crash was already heading toward the corner. “It’s one credit. Give it
away, for all I care. But if you’re working for me, even just pretend working
for me, you gotta be on payroll. For clarity’s sake, if nothing else.” She
pulled out her comlink. “Ten-Kayt?”
“Here, Master Crash.”
“Make a note in the files that we have two new employees, please. Just
put”—she eyed them—“Starlight A and Starlight B. Fee: one credit each.”
“Done.”
She rounded the corner and immediately let out a low groan.
“What is it?” Ram asked as he and Reath fell into step beside her.
The two guards, a Gamorrean and a bored-looking burly human, were in
municipal police uniforms, but they weren’t any of the ones she knew. Of
course they weren’t. Most of the recent hires were brought specifically to
protect the Santhe Shipyards, and from what Crash had heard, they were a
bunch of randoms that nobody, not even the assorted lowlifes and street
thugs of the Bottoms, knew anything about.
“Things are just never as simple as they could be,” she said. She had
hoped maybe one thing could be easy one time. But no. “Doesn’t matter.
C’mon.”
“Greetings, excellent pig!” Crash snorted in Gamorrean as the first
guard strutted up to them, already looking for a fight.
He released a string of swears that they definitely didn’t teach in Intro to
Gamorrean. Fortunately, she had learned on the mean streets of the
shipyards, so she replied in kind, with an even more colorful epic saga of
horrific things about the guy’s grandma, forefathers, how he had sprung
from a pile of rancor poodoo and looked it, and how all his nieces and
nephews were regurgitated fetal worrts. A lovely language, truly.
For a brief moment, the guard just blinked at her with his piggy little
eyes.
“Uh,” Reath said quietly. The kid was probably reaching for his
lightsaber, just in case.
Then the guard let out an enormous, fatuous guffaw and ran over to
embrace Crash. It was one of the least pleasant hugs she’d ever gotten, but
it was better than having her face split in two by his sizable bayonet. He
threw a sweaty arm over her shoulder and proceeded to escort her and the
others toward the gate, demanding to know how she had come to speak
Gamorrean so colorfully and how she knew so much about his family, and
on and on.
“Hold it,” the human guard demanded, putting up one hand and still
looking like he could barely be bothered to even stand at all. “Borgar, what
are you doing making friends? Nobody gets in. Period. Not even Jedi.”
The guy had a large blaster rifle slung over his shoulder, which was ...
unusual for a muni. Crash made a tiny mental note about it and then got to
work. “My friends are visiting from out of town, sir, to get medicine, you
see—they’re from a very small planet with no resources, and I promised
their dear dying mother that I would show them the famous shipyards of
Coronet City before they returned to her bedside!”
“Tt’s true,” Ram piped up awkwardly. It was a good effort though; at
least he was willing to play along.
“Not my problem,” the guard said. “Their problem.”
Borgar released Crash and got in the other guard’s personal space,
snorting and squealing.
“T don’t speak pig!” the guy yelled, right before getting his jaw broken
by a solid left hook. He dropped fast, and Borgar got to work lugging him
into the guard house.
“Thanks, excellent pig!” Crash yelled in Gamorrean, gesturing
elaborately at the boys to follow her into the yards. “Your grandfather is an
absolute bag of festering garbage!”
Borgar waved and snorted a cheerful curse-out in reply and then went
about his business.
“When you said you could get us into anywhere in Corellia we wanted
to go,” Reath said, glaring down at her once they’d made it a little ways in
and ducked behind a warehouse, “I thought you meant you had behind-the-
scenes passes or something! Not that you were going to con some helpless
Gamotrean into assaulting his work buddy.”
Crash got on her tiptoes to almost reach Reath’s chin and held up one
finger. “He was hardly helpless.” Then another. “That was clearly not his
buddy.” Then a third. “And I never said how we’d get in, in part because I
didn’t know. It depended where you guys wanted to go and also who
happened to be at the door that day. Okay?”
“T thought it was pretty wizard,” Ram said, standing between them but a
safe distance away. “Personally.”
“What happened to you being up-front with us about your plans?” Reath
demanded.
“Tt’s called improvising. I can’t be up-front with you about plans I don’t
know about until they happen. Next time I’ll ask the huge war hog to hold
on a moment while I explain to my partners how we’re going to confuse
him. Cool?”
op»
“And anyway, who’s the one being deceitful, mighty Jedi Knights?”
That stopped Reath like a smack in the face, just like it was supposed to.
Crash kept her smile inside—there was no point rubbing it in.
“Oh, yeah, that one was my bad,” Ram said.
Reath pivoted, but it was too late for that. “We are technically Jedi of
Starlight Beacon, which is what you asked.”
“Uh-huh. A lie by omission is still a lie, last I heard,” Crash countered.
“How did you know?” Reath asked, deflated.
Crash cocked her head to one side, eyes wide. “How did I know that the
Jedi Council, in their infinite wisdom, didn’t send two goofy kids to
investigate a potential incursion of Nihil raiders deeper into the galactic
Core than they’ve ever been, all by themselves?”
“Goofy?” Ram complained.
“Okay, I take that part back,” Crash allowed. “The point remains. Also,
I saw the other two Jedi leaving before I came in, and they were clearly
older than you two. And they didn’t have those cute little plaits you fellas
wear.”
Ram pulled his Padawan braid out from where he’d tucked it into his
bun and held it in front of his face. “You think they’re cute?”
“You mean you were staking out the place,” Reath said, “waiting for us
to be on our own before you came over and conned us.”
“Tt’s not a con!” Crash insisted. “I’ve told you exactly what I’m doing
this whole time!” She shook her head. “I gotta tell Svi’no this being up-
front with people thing is not all it’s cracked up to be.”
“Who’no?” Ram asked.
“She’s a big-deal singer,” Reath informed him, not looking particularly
impressed. “And Crash here is clearly name-dropping.”
“She’s the greatest music artist the galaxy has ever known,” Crash said.
“And I can’t help it if my friends are a big deal. She’s also a royal pain in
my ass. Point is—we’re even, okay? Yes, I waited till the adults were gone,
because I deal with enough already at work, and all they do is
underestimate you until you prove yourself smarter than them and then act
surprised that what you’ve been saying all along is true. It’s exhausting. I
keep a very small, select group of ’em in my inner circle, and all of them
are on payroll. And anyway: adults come with too many rules. Can you
honestly imagine Master Surly Ponytail and Master Muttonchops rolling
with us on that last little stunt?”
“Master Muttonchops!” Ram squealed, covering his mouth to mute the
giggles.
Reath looked like he was doing everything in his power not to crack up.
Crash decided she liked him all right, even if he was a little stuck in his
ways. And Ram was obviously the greatest kid in the galaxy; he just needed
to work on his acting skills a bit.
All things considered, she’d ended up with a pretty good set of potential
partners, she had to admit. “So,” she said, folding her arms across her chest.
“We’re even. Truce?”
Reath smiled out of the comer of his mouth, still trying not to laugh.
Nodded. “Truce.”
Sates 1»
Ram yelled, already running off.
RW
SEVENTEEN
DOL'HAR HYDE
een had imag ined it many times—victory, finally catching up
to Krix and stopping him for good.
She’d tossed it around her mind over many sleepless nights, almost as
many times as she’d wondered what death would feel like, especially if it
came at his hands.
A hundred different scenarios had tumbled through her thoughts, then
pursued her into dreams.
And now ... now the possibility of victory was so close, she could feel it
thickening into reality like a physical thing.
She could almost taste it.
Up above, the heavy booms of starfighter cannons sounded as the task
force ships smashed through what remained of the Nihil’s forces.
But Krix was somewhere down there in the tunnels. Zeen was sure of it.
She’d seen him leap out of the gunner tower he’d blasted her ship from.
She’d watched him run, debris exploding around him. And then he’d
vanished.
Krix had killed so many, but like all the Nihil, he was a coward at heart.
His squad was known for attacking civilian targets with a small advance
team and then returning full force to rampage the aid workers who’d come
to help those in need.
He’d once taken care of Zeen when she was afraid, sworn to keep her
safe no matter what. Then he’d become a monster.
A monster she would finally, finally stop.
It had been Lula, Farzala, and Qort alongside her as they went into the
tunnels. The team! The Padawans who had first found her on Trymant IV,
the people she trusted most in the world. She had seen them as heroes, and
they’d turned out to be amazing friends, too, accepting her as one of them
even though she couldn’t become a full Jedi.
And now they were closing in on their enemy together. They’d split up
at the juncture of tunnels, and now Qort—reliable, caring Qort—trekked
along through the darkness beside her, lightsaber ready.
They were so close. It wasn’t Krix himself that Zeen could feel, just the
certainty that one way or another, the end of this chapter of her life loomed,
swung toward her, unstoppable now. She hoped it was just the end of a
chapter and not her whole life. Or anyone else’s.
She glanced at Qort as they headed deeper into the dingy tunnel. An
Aloxian, he was smaller than the other Padawans, with light blue skin and a
kind face. But all that could be deceiving. Zeen had never seen someone
fight the way Qort had back on Takodana when the Jedi temple had
exploded and Nihil fighters were closing in.
The skull mask he’d worn his whole life had shattered, and in breaking,
it had unchained a warrior spirit deep within him. And somehow he’d still
been that sweet lovable boy when the fighting was all over.
She doubted he’d need her help in a jam, but with someone as
underhanded and tricky as Krix around, there was no telling what could
happen.
And Lula. Lula was heading down the other tunnel with Farzala. If
anything happened to either of them...
No.
She would not let her own wrath consume her like it had back on
Quantxi. There, she’d come face to face with Krix after he shot her down,
and she’d used the Force to choke him—would’ve killed him if it hadn’t
been for Lula stepping in, her calming presence, her hand on Zeen’s,
lowering it.
“That isn’t our way,” she’d said. And Zeen had felt the truth of it move
through her. She’d been with the Padawans only a few weeks at that point,
and still she knew. ... She knew that their power and presence in her life,
especially Lula’s, was more important than any sense of fulfillment she’d
get from feeling Krix’s life snuffed out in her hands.
She took in a deep breath of stale tunnel air. Released.
The Force was with her. She was one with it.
Up ahead an iron door sealed off their path farther into the tunnel.
He was here. This was the safe room. The knowledge of it thrummed
through Zeen. The inevitable ending flashed toward her in crude, vague
bursts. Lula was near, too.
Lula.
Zeen raised her blasters, the sweat of her palms slick against the grips.
Ready.
Not ready. Not at all.
Her breath came faster and faster.
Everything about this seemed like a trap. Where were Lula and Farzala?
She glanced at Qort. He blinked back, face determined, inscrutable.
A wrong move would kill them all. Zeen felt that truth in the pit of her
stomach. Or was it fear? Waiting too long was a move, too, and could be
just as fatal. The comms didn’t work this deep in the tunnels.
Usually she could feel Lula. Usually she knew instinctively what her
friend would do next.
Now everything was muddled.
Fear rippled through her, dragging a hundred different tragedies across
her mind.
No.
She had to trust the Force. It was all she could do. Trust the Force. Trust
love. Trust Lula.
Zeen closed her eyes, reached out.
She felt the familiar surge of the Force rising in her; she felt Lula, her
warmth suddenly near and gigantic, a gentle, unstoppable sun.
Lula, whose face she had opened her eyes to after a long meditation so
many times now.
Lula, who was reaching out, too, trusting the Force. Trusting love.
Trusting Zeen.
Are you ready, Zeen? Her voice was as clear as if she were standing
right there.
“Always,” Zeen whispered.
Zeen’s eyes flew open, and for a flickering moment she saw Lula across
from her, face calm, eyes opening, too. “Now!”
She grabbed the handle of the door, nodding at Qort to ready himself,
then pulled it open.
There, huddled in the small hideaway room, was Krix, already leaping
up, reaching for his blaster rifle. Beyond him, Lula had flung open another
door, and the first thing Zeen thought was that it was strange they weren’t
locked.
But it didn’t matter. She had the drop on Krix, and there was no way he
would reach his own weapon before—“Zeen! No!” Lula yelled, and then
with a clang, the door closest to Zeen slammed shut in her face.
There was a yelp from within, then the shriek of a blaster bolt, followed
almost instantly by another door clattering shut. Then a horrific snarl of
flame sounded.
Qort sniffed once, frowned. “Rhydonium,” he said in his scratchy little
voice. “Would have made fire of all of us.”
Lula had saved them. She had saved them all. But were she and Farzala
okay?
“Come on!” Zeen yelled, already charging back through the tunnel. Qort
was beside her, running, mumbling his concerns in Aloxian.
“T don’t know, either,” Zeen said. They rounded back past the divide,
then dashed to where the sounds of struggle grew louder.
“We ... we got him!” Lula yelled as Zeen and Qort came around the
corner. Krix was on the ground, squirming beneath Farzala’s foot.
“And stay down,” Farzala menaced with a grim smile. Qort ran over to
join him as Krix yelped gutless threats.
Zeen felt like she could collapse into Lula’s soft gaze and never rise
from it again.
For a few blissful seconds in that dark tunnel, they just took each other
in, relishing the small and gigantic victory. There was still so much to do,
Krix’s plans to unravel, a million impossible questions to answer.
But for just that moment, Zeen felt the galaxy slide into a tiny, perfect
kind of balance around them.
And that, right then, was enough.
Na
EIGHTEEN
THEN
¢ ‘I don’t know how you do it,” Kantam said as Aytar ran the brush
in a long arc down his own face, completing the bright silver wave.
In the mirror, their eyes met. Aytar flashed that smile of his, the
disarming one that made Kantam feel an unfamiliar surge of ... something,
something hot and fierce, deep inside. “Put on my own makeup? It’s easy,
really. Takes some practice, but you get the hang of it. Dondar Volt taught
me. She’s incredible.”
“That’s fascinating,” Kantam said, throwing some silky robes to the side
and leaning back on the antique couch in Aytar’s cluttered dressing room.
“But I meant perform. Every night. I don’t know how you can get up there
again and again, and ... be someone else, and smile and feel all those eyes
on you, and...” They shook their head, rustling a hand through their short
hair. “I admire it, I guess I’m saying.”
Aytar rinsed out the brush in a jar of murky water and then dipped it in
the gold paint. “Does it bother you?”
“T...” It hadn’t occurred to Kantam to be bothered by it. Should they be?
The two had known each other for only five days. Four days and eight
hours, really. They had been the most truly wild days and nights of
Kantam’s life, easily, and neither of them had known what to call this ...
whatever it was. Thing. It had no name and so no rules, and no clear
beginning or obvious end. And that’s what made it so perfect.
Everything back at the temple was regimented, clear, delineated, put in a
box and labeled until it became something else, and then it got a new box, a
new label. Okay, that wasn’t entirely true. The Jedi Order certainly had an
understanding of the endless complexities of the universe, those definition-
defying parts of life, especially the Force—always the Force and only the
Force. Kantam hadn’t realized how sick of it all they had grown until they’d
spent some time away.
“Padawan Sy?” Aytar said piously.
Kantam grinned, shaking away the rambling thoughts. “I can’t decide
whether I love or hate that you call me that with such obvious mockery in
your voice,” they said.
“Mockery?” Aytar gasped, fake offended. “Only a little.” Then he got
serious. “Truth is, I admire that about you, Kantam. What you are. Your
dedication. Sure I perform over and over, and yes, it is exhausting, but I
love it. It’s who I am, and I couldn’t really do anything else, so ... I see
what you do, the respect you walk with for the galaxy, for your elders, and
... it’s beautiful to me.”
Kantam looked away, unsure what to do with their body, what to say. “It
hasn’t felt so simple since...” They looked back, caught Aytar’s gaze,
locked eyes with him. “Since you, Aytar.”
“Mm,” Aytar said. That neither-here-nor-there kind of grunt Kantam had
already gotten so used to that it had started popping up in their own speech
patterns, unbidden.
They hadn’t even made love, but Kantam was pretty sure that when they
did—and there was no question that they would—a star or two might
explode somewhere. They’d talked about it plenty, enjoyed taking each
other right to the edge and then pulling back—a thrilling exercise in trust
and temptation. It hadn’t been a conscious decision, to wait. It was just
clear: that was the right thing to do at the moment. When the time came,
they would do it. The understanding seemed—in a weird, impossible way—
easy. They didn’t have to speak; it was simply true.
“T don’t want to make things complicated for you,” Aytar said.
Kantam scoffed. “That’s nice but ... too late. I’m talking to Master Yoda
tomorrow.”
Aytar spun around. “About what?”
Kantam sighed, sat up. “I—I don’t know, actually. I don’t know.”
“You’re not thinking of leaving the Order, are you, Kantam?”
“Do you not want me to?”
Everything was happening so fast. Kantam felt the speed of it around
them, like the sudden burst of stars stretching into hyperspace. There was
no stopping it, whatever it was. It was bigger than both of them.
“T don’t know,” Aytar said, and Kantam wanted to curl up inside the
brutal, gentle honesty of his words and sob.
QU
CORONET CITY
“As much as I’d rather hear the rest of this story than deal with some
Republic bureaucratic silliness,’ Cohmac said, “and I really would—
haven’t we been sitting here an awfully long time?”
Kantam disentangled themself from all those vibrating images and
feelings that seemed to spring to life in their mind just in the telling, and
then released them all into the stale air of the waiting room and nodded.
“Indeed we have. What do you make of it?”
Cohmac stroked his goatee and arched an eyebrow. “I would say typical
official-type nonsense, but things being what they are ... I’m suspicious it
might be more than that.”
They both glanced around the dull room that they’d been sitting in for
... had it already been almost an hour? An ancient Twi’lek woman had
greeted them warmly, offered some watery caf, and then escorted them
down a brightly lit corridor and asked them to have a seat, explaining that
the minister would be with them shortly.
She wasn’t.
Then Kantam had gotten back to reminiscing, mostly because Cohmac
prodded them—the story had been cut short during the flight over by some
turbulence and an asteroid belt, and then too much had been going on to
pick it up again.
Now ... they’d been waiting long enough for it to indicate either an
intentional insult or something more afoot. Both Jedi stood, hands at their
sabers. “I’m listening,” Kantam said.
“What do you say we bypass the secretary and pay a visit to the minister
directly?” Cohmac proposed.
“T say a minor diplomatic incident is better than another hour sitting in
this room,” Kantam replied.
“Excellent logic.” They headed back into the corridor, each glancing to
either side before proceeding toward the far end, where a fancy doorway
took up the entire wall.
Kantam and Cohmac traded glances, then nods, then Cohmac tapped the
control pad.
The minister’s large, extravagant office had been converted into a kind
of war room—a large holotable in the center projected spinning images of a
crumbling building, a moon, and what appeared to be troop movements
along a city map.
A handful of uniformed officers leaned over the table, checking
numbers, consulting with each other in urgent whispers. Messenger droids
zipped around the floor and out through small hatchways that probably led
to a whole other command center somewhere in the complex.
“Ah, Masters Sy and Vitus, I presume!” Minister Fendirfal exclaimed,
walking around the holotable and spreading her arms majestically. The
windows behind her opened up to a breathtaking view of the Port District;
just beyond that, the midday sun danced across the churning waves. “I’m so
sorry to have kept you waiting!”
“Quite all right,” Cohmac assured her. “Seems you were otherwise
occupied. Anything we can be of assistance with?”
“Minister,” an aide said, fast-walking to Fendirfal’s side and muttering
something in her ear. She nodded, all pretense of formalities gone,
whispered something back, and then dialed her smile back to ten and
directed it at the two Jedi.
“T doubt it, my friends, but thank you.”
“Might we inquire about what has occurred?” Kantam said, trying to
stem the irritation at even having to ask in the first place. Seemed like they
should just go ahead and tell them, but politics and the Republic being what
they were, Kantam tried not to make assumptions. There were probably
security clearances that needed to be authorized and so on.
“A bombing at Gus Talon University, I’m afraid.”
“Was it the Nihil?” Kantam asked, and then immediately wished they
hadn’t.
The minister’s face crinkled into a kind of pained smile. “You do
realize, my dear Jedi, that not everything that goes wrong in the galaxy has
to do with those marauders, don’t you?”
Kantam felt a flicker of emotion from Cohmac, then was relieved to
sense it passing like an errant gust of wind. “Of course,” they said, “we just
bb)
“We have been quite effective at making sure the Nihil raiders have no
hope whatsoever of making their way this deep into the core of the galaxy,”
the minister continued. “They are not welcome here on Corellia, you know.”
“They’re not welcome in the Outer Rim, either.” Cohmac managed to
keep his voice at a steady, cool drone, but Kantam knew those words held
pure fire waiting to be unleashed. “And yet we’ve been fighting them off
for the past year. They certainly weren’t welcome in hyperspace, and yet
Hetzal was nearly obliterated. Surely you’re not suggesting that any of the
planets these raiders have victimized have welcomed them, Minister.”
“What I’m suggesting,” Fendirfal nearly spat, “is that we have no Nihil
here, nor do we plan on having them. If we did, they would be dealt with
and dismissed. Now, you two on the other hand”—she shifted suddenly
back into her eerie million-credit smile—“are our welcome guests, of
course, and are free to pursue whatever avenues of investigation you need
to get the answers you need.”
Kantam bowed slightly, more than ready to be done with this
conversation. “Tha—”
“T must warn you, though, we have our hands quite full at the moment,
as you can see, and won’t be able to help you.”
“How many of the Jedi from the Coronet City temple have been
deployed to Gus Talon?” Cohmac asked.
“Oh, all of them, of course.” Fendirfal chuckled whimsically. Then she
tensed. “It appears that the union strike has exploded quite viciously into an
all-out insurrection.”
“Ah,” Cohmac said. “That explains why there was no one to greet us at
the lodgings.”
“Thank you, Minister,” Kantam said, backing toward the door. “Please
let us know if we can be of any assistance whatsoever.”
She bowed, smile tight. “Of course. I would offer the same, but it
wouldn’t be accurate, alas.”
Kantam blinked at the slight. “TI...”
“T will, however, be attending to some matters later tonight that may
relate to your investigation. You may join me, if you’d like.”
“IT suppose—” Cohmac began.
Fendirfal cut him off. “Very well. I will stop by your quarters on my
way out.”
Both Jedi let out long exhales as the door slid closed behind them,
blocking out the anxious clatter of the war room.
“Well, I was wrong,” Kantam said. “Another hour sitting in that awful
waiting area would’ve been better than that any day.”
RW
NINETEEN
CORONET CITY
T his,” Ram said breathlessly, to himself more than
anyone else, “is the greatest place IN THE ENTIRE GALAXY!”
He stood at the far end of the grandest ship he’d ever seen: an MPO-
1400 Purgill-class star cruiser. It seemed to stretch all the way to the
horizon, and all along it various beings tinkered and hammered and
chattered to one another. Cranes and great big walkers maneuvered across
the bulky cruiser, and droids hovered around, rolled out of ventilation ducts,
maneuvered through wing channels and wiring casings.
The best part: Beside it, there was another MPO just like it! And another
beside that!
He had run all the way there once he’d realized they were close, but that
wasn’t why he was panting. He was panting because he’d never been so
happy in all his life. And apparently, neither had the Bonbraks.
“Breekpatz!” yelped Tip, crawling out of Ram’s robes and perching on
one shoulder.
“Prakapraka,” agreed Breebak, climbing up on the other.
“T know, right?” Ram sighed. “Heaven.”
“Um,” Crash said, walking up on one side of Ram as Reath appeared on
the other. “Reath, your friend has a rat on each of his shoulders.”
“Fika fika prap!” Tip snarled, all his fur getting pointy.
“Yeah, you get used to it,” Reath sighed. “They’re Bonbraks. And they
understand Basic.”
“T figured that,” Crash said, “because it sounded like one of them just
cursed me out.” She pulled a handful of pellets out of one of those pouches
on her utility belt and held some out to each Bonbrak. “Gork gork treats?”
“They’re probably mad you called them rats,” Reath pointed out as Tip
and Breebak gobbled up the pellets happily. “Oh, look, they love you
already just like everyone else.”
“Well...” Crash shrugged, already digging more treats out of the pouch,
“T keep these around for the hounds, and more recently I’ve found they
work on Tamo, too. But rats do love gork gork treats.” The Bonbraks started
cursing again while noshing on more treats and then just gave up and blazed
through the next two handfuls Crash gave them.
Ram only halfway noticed. He was too busy imagining what the specs
of those gigantic cruisers must be, how they balanced lift/mass ratio
considerations with slick commercial design, how it all came together.
Some people talked with awe about the wonders of nature, how the
Force itself must have been the great master designer behind such a
complex and beautiful galaxy. And sure, that made sense, and Ram loved
the Force, of course.
But mostly because it helped him better understand and play with all the
cool mechanical gadgets and machines of the galaxy! And this ... What had
gone through the mind of Shug Drabor, the great master designer behind
these magnificent giants?
Also—Ram took a few stumbling steps down the main walkway,
narrowing his eyes at something up ahead—a display of some kind. It
looked like a single-pilot ship.
“This kid is something else.” Crash chuckled.
“There’s no one like him,” Reath confirmed.
Was that... ? He got closer, ignoring the quips from either side, then
broke into a run.
“Fellas,” he said to the Bonbraks, both of whom had finally finished all
their snacks and were also staring with wide eyes at the miracle before
them, “is that what I think it is?”
The small, all-black starfighter looked like someone had taken one of
Ram/’s arc-drill bits, made it about a hundred times larger, and welded sleek
wings on either side and cannons all around it. Strafing scars covered the
ship’s heavy carapace—this thing had seen serious action and made it out in
one piece somehow. Then again, it didn’t look like much of anything could
get through that metal.
There wasn’t even a viewport anywhere! The pilot probably had to use
whatever primitive sensor system and ... “The Force,” Ram said in a
reverent whisper.
“Verrry agood, small Jedi boy,” someone with a tiny voice croaked
behind and above Ram. He spun around, then looked up, up, up along the
metal exoskeleton of an enormous loadlifter workframe that was
proportioned something like a gigantic turbo-powered Anzellan—short
stubby legs and huge four-fingered pincer hands at the ends of extra-long
metal arms.
“Ah, thanks!” Ram said, blocking out the sun with his palm so he could
get a better look at the ... tiny Anzellan in the driver’s seat at the top of the
workframe. “Wait, did you just call me small?”
“T see you’ve met the great Shug Drabor himself,” Crash said, catching
up with Reath by her side.
“Wait,” Ram gasped. “This is...”
“Hey, Doc!” Crash waved up at the Anzellan as if she were just talking
to some buddy of hers, not the greatest starship engineer of literally ALL
TIME. Then Ram realized that was because she was talking to some buddy
of hers, who also just happened to be the greatest starship engineer of
literally all time.
“Abacrash!” Shug did a jaunty little dance—which the workframe
mimicked, almost stepping on Ram—and then gave a small bow. “Always
agood to see!”
“You know him?” Ram said, trying to contain himself. “You two are,
like ... friends?”
“Dr. Drabor,” Crash said, ignoring him, “this is Ram Jomaram and
Reath Silas, Jedi apprentices of Starlight Beacon. Ram adores you, in case
you hadn’t noticed.”
“Jedi-no ba!” the little engineer exclaimed, pushing a button and
hopping down from his control seat onto the top of the ancient starfighter.
Ram didn’t speak Anzellan, but he figured it was a good thing, from the
Anzellan’s tiny whimsical smile as he removed his goggles and blinked at
Ram.
“Eh-vi ya Bonabaraka?” he shrieked happily, spreading his arms.
Tip and Breebak, who had been watching in awed silence, finally yipped
and scampered off Ram’s shoulders and onto the starfighter, where they
proceeded to engage in some kind of elaborate group hug with Shug.
“Well, the doctor loves your rats,” Crash said, already scrounging up
more gork gork treats.
“Can you... ? I don’t speak Anzellan,” Ram said. “Can you ask him
about this ship?”
Crash nodded and turned to Shug, who had an arm around each of the
Bonbraks like they had all just had a wild night barhopping together. “Vizi
vizi starfih ho-ka?”
“Just how many languages do you speak, Crash?” Reath demanded with
unchecked admiration in his voice.
Crash shimmied and then winked. “A lot. I protect people for a living
and manage a big team. It helps to be able to speak to folks in their own
language. Plus it catches everyone off guard. And it’s a great way to learn
secrets, because no one expects me to know what they’re saying when they
switch out of Basic.”
“T am ... impressed,” Reath said.
Ram shushed them both because Dr. Drabor had launched into an
elaborate extended monologue.
“He says it’s about two hundred years old,” Crash explained when the
engineer had finished talking and went back to cuddling his new friends.
“Shug didn’t build it, but he keeps it around as a source of inspiration. It’s
the only one left of its kind, but these babies, as the good doctor here calls
them, were in service all the way up through the Eiram and E’ronoh War.
This one served in the Battle of Jedha, right before the Republic petitioned
to shut down production entirely and got them banned. It’s a Spiral-class
Viz-Core Eviscerator with twin-canister omega cannons, VIX-force
metallic blast-proof shielding, and a modulated navicomputer for seek-and-
destroy missions.”
“Unreal,” Ram whispered.
“That drill part on the front was used to puncture the hulls of large
enemy ships and then burrow through to their reactor cores. I guess,” Crash
added, clearly editorializing on top of her translation, “that’s why it’s the
only one left.”
“T would like ... to have ... one of these ... please,” Ram said under his
breath. Crash did him the favor of not translating that for Shug, who
immediately launched into another monologue about something. “What’s he
saying?”
Crash smiled. “He wants to know if you’d like a tour of the rest of the
shipyard.”
“WIZAAAARD!”
Ne
TWENTY
CORONET CITY
eath had to admit, he was having fun. A lot of fun.
He was doing his best to keep his guard up, stay cautious, but he
hadn’t realized how badly he’d needed to just be a teenager hanging out
with other teenagers for a little bit, after all that fighting and escaping and
getting knocked out. And he was glad that, in Ram, he’d found someone to
talk with about the more hard-to-describe parts of being a Padawan.
He’d been resistant to leaving Starlight at first, but maybe on Corellia an
answer awaited him about what direction he was supposed to point himself,
how to move forward.
They made their way along the vast corridors of the Wanderlight, a
sister ship to the famed Halcyon that had helped tow Starlight on its rescue
mission to Dalna. Turned out Bonbreez had some linguistic ancestors in
common with Anzellan, so Tip and Breebak took over translating duties
between Shug and Ram, leaving Crash and Reath free to stroll behind at a
leisurely pace and take in the immensity and lushness of the gorgeous
starship.
Crash was a tricky one, Reath thought as they walked along a near-
invisible catwalk that took them over what looked like a tiny ecosystem—
flower-covered trees reached up toward them through the artificial mist.
Could she be trusted? Just because she’d acted like she was being up-
front about including them in her plans, that didn’t mean it was true. Or not
all of it anyway. His instinct said she was all right, and he was pretty sure
that wasn’t just because she was good-looking. He hoped it wasn’t, anyway.
He’d been fooled by good looks and an easy smile before, duped into
telling a Nihil operative way too much about the Jedi Order, and the
memory of it still made him cringe inside.
And then there was Vernestra—an entirely different kind of beautiful
and an entirely different kind of crush. She seemed like the kind of person
who would understand things about Reath before he even had a chance to
explain them. He imagined them exploring the galaxy together—hand in
hand sometimes, even though that was kind of corny—and discovering
entire new ways to use the Force.
Reath had given up trying not to have crushes, opting instead to
neutralize the whole situation by having all the crushes. Surely there was an
old Jedi saying about that, or maybe that was an old Jedi saying. If not, he’d
make it one.
Crash was different from the others. (Although she did look a little like
Nan. Reath wondered if that was what people meant when they said
someone had a type.) At least, she seemed different. He’d never met anyone
quite like her, and if she was working for the Nihil somehow, why would
she turn the holo of her friend over to the authorities and thus draw more
attention to whatever was going on? That would have to be a very elaborate
ruse, even by Nihil standards.
“Trying to figure me out?” Crash asked with a sly wiggle of her
eyebrows. They’d paused on the catwalk to take in the fresh soil smell and
the chirping song of whatever creatures had been imported to live in the
biosystem below.
Reath had to smile. “Something like that.”
“Did you consult with your old buddy, the Force?”
“How do you do that?” he asked, narrowing his eyes at her.
“What, read people’s minds?”
“No—that thing where you’re clearly making fun of everyone in
existence and all they do is like you more instead of hate you for it.”
“Oh, that ol’ thing!” She waved away the notion like it was no big deal,
then immediately looked puzzled. “Wait—I’m not sure. It’s not actually on
purpose. I only do it to people I like though.” She pulled her mouth to one
side. “Except that Gamorrean guy, but that doesn’t count—he was a mark.”
“Are we not marks?”
She rolled her eyes and kept walking. “I already told you you’ re not.”
Then she stopped, looked at him seriously. “Do you believe me?”
Reath nodded, meeting her eyes so she knew he meant it. “I do. And
yes, I’ve been tumbling it over in my head. I trust you, Crash. I’m not one
hundred percent sure why, but I do.”
“Because the Force told you to, obviously!”
They fell back into stride. Up ahead, Ram squealed something
unintelligible and the Bonbraks gibbered away as Shug chuckled.
“So, about tonight,” Crash said, sounding a little uncharacteristically
nervous. Then she paused and pressed an earpiece that Reath hadn’t noticed
she was wearing until just then. “Advance Team Seven, go.” He blinked at
her, and she held up one finger and smiled apologetically. “Okay, check.
Confirmed, yeah. Sounds good. Check in with Air-Eleven about that.”
Air-Eleven? Reath mouthed incredulously.
Crash shrugged.
“Are there really ten other air support units?” he whispered.
She shook her head. “We just thought it sounded cool. Sorry, not you,
Barchibar. What were you saying?” Crash scrunched up her face. “Powlo is
there, too?” she practically spat. “That’s ... that’s Dizcaro’s guy.”
Reath could practically see the meticulous, terrific gears of her mind
spin into overdrive.
Crash strode toward the far platform. “Find out what detail he’s on,
Barchi. But don’t be obvious about it, you hear me? Do not just ask him.
And ... matter of fact, don’t do anything. I mean it. I’m sending Kayt your
way. Yeah. Okay, we’ ll be over there soon.” She stopped. “Yes, we.” She
glanced at Reath. “We have some new team members. Don’t worry, you’ ll
like them.”
Then she clicked off the call and broke into a run.
“What’s going on?” Reath asked, catching up with a few long steps and
falling into stride with her.
“That meeting tonight,” Crash said huffily, “which I called, by the way
bb)
“The one with all the diplomats and fancy city leaders and whatnot?”
“Exactly. Normally, since I called it and run protection for all the
attendees, I would be responsible for the security of the whole meet.”
“But?”
“Correct, there is a but. There’s always a but!” They rounded a corner
and crossed a long fancy room full of various gambling devices. “My main
competitor, Dizcaro, has an advance team on site, too.”
“Which means...”
“Which means he’s trying to use the disappearance the other night to
nudge in on my turf—nothing new there—but now he’s apparently made
some headway with one of the city leaders. And that means things are going
on behind the scenes that I don’t know about.”
“Tt must be exhausting to be you,” Reath marveled.
Crash scoff-laughed. “You have no idea. Ram! Ram and the ra—
Bonbraks!” she called across the hall. Ram and the others looked up.
“We gotta run! Sorry to tear your new friends away, Dr. Drabor, but we
gotta get them outfitted in their disguises!”
“Disguises?” Reath gaped, turning suddenly toward the exit along with
Crash as Ram sighed and said his goodbyes.
Crash flashed that grin. “Disguises!”
Star Wars : The High Republic : Midnight Horizon
Star Wars: The High Republic: The Fallen Star is a work of fiction. Names, places, and incidents
either are products of the author’s imagination or are used fictitiously. Any resemblance to actual
events, locales, or persons, living or dead, is entirely coincidental.
Copyright © 2022 by Lucasfilm Ltd. & ® or ™ where indicated. All rights reserved.
Published in the United States by Del Rey, an imprint of Random House, a division of Penguin
Random House LLC, New York.
DEL Rey is a registered trademark and the CircLE colophon is a trademark of Penguin Random
House LLC.
Hardback ISBN 9780593355398
International edition ISBN 9780593499122
Ebook ISBN 9780593355404
randomhousebooks.com
Cover art: Yiyhoung Li
ep_prh_6.0_138948761_c0_r0
Contents
Cover
Title Page
Copyright
The Star Wars Novels Timeline
Epigraph
Preface
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 22
Chapter 23
Chapter 24
Chapter 25
Chapter 26
Chapter 27
Chapter 28
Chapter 29
Chapter 30
Chapter 31
Chapter 32
Chapter 33
Chapter 34
Chapter 35
Epilogue
Dedication
Acknowledgments
By Claudia Gray
About the Author
THE =S FAR. WARS NOVELS TIMELINE
THE HIGH REPUBLIC
Light of the Jedi
The Rising Storm
Tempest Runner
The Fallen Star
Battlefront II: Inferno Squad
Heir to the Jedi
Doctor Aphra
Dooku: Jedi Lost Battlefront: Twilight Company
Master and Apprentice
yt THE PHANTOM MENACE } ve THE EMPIRE STRIKES BACK
|v RETURN OF THE JEDI
| | Ym y Ved. @e) io.) meg Ke) \ =>) The Alphabet Squadron Trilogy
The Aftermath Trilogy
Last Shot
Thrawn Ascendancy: Chaos Rising
Thrawn Ascendancy: Greater Good
Thrawn Ascendancy: Lesser Evil Bloodline
Dark Disciple: A Clone Wars Novel Phasma
Canto Bight
| I [Revence orrae sma
[Wl [re Force wanes
Catalyst: A Rogue One Novel |
Lords of the Sith
| vu THE LAST JEDI
Tarkin
Resistance Reborn
Galaxy’s Edge: Black Spire
Thrawn
A New Dawn: A Rebels Novel
Thrawn: Alliances
Thrawn: Treason | Kk THE RISE OF SKYWALKER
A long time ago in a galaxy far, far away....
The tragic EVENTS of the Republic Fair have galvanized the
galaxy. The Jedi and the Republic have gone on the offensive to stop the
marauding NIHIL. With these vicious raiders all but defeated, Jedi Master
AVAR KRISS has set her sights on LOURNA DEE, the supposed Eye of
the Nihil, and has undertaken a mission to capture her once and for all.
But unbeknownst to the Jedi, the true leader of the Nihil, the insidious
MARCHION RO, is about to launch an attack on the Jedi and the Republic,
on a scale not seen in centuries. If he succeeds, the Nihil will be triumphant,
and the light of the Jedi will go dark.
Only the brave Jedi Knights of STARLIGHT BEACON stand in his
way, but even they may not be enough against Ro and the ancient enemy
that’s about to be unleashed....
UY)
Prologue
Ty he Lon Q beam cruiser slipped into the Nefitifi system as
smoothly and silently as a sharp needle piercing black cloth. Only a few
million years before, a star in this previously binary system had exploded,
leaving behind a nebula of extraordinary scale. Trails of deep-purple and
dark-blue gases laced between the planets, radioactive and opaque, hiding
the entire system within swirls of mist.
Many smugglers had, in the past, taken advantage of that mist.
The Jedi now believed the Nihil were using it, too. It was their last place
to hide.
“Any signals?” Master Indeera Stokes asked her Padawan.
Bell Zettifar, next to her, shook his head. “Nothing on any frequencies.
It’s completely quiet out there.”
“Tt shouldn’t be.” Master Nib Assek shook her head, her gray hair
painted silver by the shadows in which they stood. (When a Longbeam ran
on half power to avoid attention—as this one now did—lighting dimmed
accordingly.) “Gunrunners have used this part of space for a long time.
You’d expect beacons, tagged cargo in asteroids, something of that sort.
Instead...nothing.”
Bell glanced over at a fellow Padawan, the Wookiee Burryaga, who
stood by Master Assek’s side. Their shared look confirmed that they
understood what was implied: The Nefitifi system was too quiet. Finding no
activity here was like landing on Coruscant and finding it deserted: proof
positive that something was very wrong.
Here it could only mean that the Nihil were near.
“They must be using silencers,” Bell said to Master Indeera. “Satellites
or shipboard?”
“Shipboard, I suspect. We’ll soon find out.” His Master squared her
shoulders; her Tholothian tendrils rippled down her back. Bell felt the
shiver of anticipation that went through the Jedi cohort aboard; the Force
was warning them of what was about to come. Master Indeera put her hand
on her lightsaber hilt. “The other Longbeams report similar readings—or
lack thereof. The Nihil must be very near.”
Finally, action. A chance to move on the Nihil. Bell had wanted this—
needed it—ever since the loss of his former Master, Loden Greatstorm. Not
for vengeance. Greatstorm would never have wanted that. For the
knowledge that Bell had done something, anything, to counteract the evil
that had robbed his Master of his life. The Nihil were already beaten, it
seemed—Master Avar Kriss seemed on the verge of capturing their leader,
the Eye, at any moment—but neither Bell nor the rest of the galaxy would
be at peace until the threat had been laid to rest forever.
The debacle at the Republic Fair months ago could’ve damaged
confidence in the Republic—and in the Jedi—past repair. Instead the Nihil
were now on the run. The corner had been turned. This entire part of the
galaxy would soon be wholly safe once more.
Once everyone else had regained their confidence and security, maybe
Bell would, too.
As the Longbeam passed through another thick golden cloud of gases,
Master Indeera was the first to say, “They’re above us. Almost directly
overhead.” Burryaga growled in assent.
Ship sensors almost immediately began to flash, but the true warning
came to them through the Force. Bell’s senses heightened; his muscles
tensed. Readiness galvanized him on every level.
Here it comes, he thought as he looked out the cockpit. The dark,
swirling nebula gases became translucent as the Longbeam rose, revealing
the underbelly of the Nihil ship. Bell imagined the warning alarms on that
ship’s bridge, the frantic rush of activity as they prepared to fight—for by
this point, surely, the Nihil had realized that the Jedi had come to fight.
But the Jedi had been ready from the instant they left Starlight Beacon,
and their moment had finally come.
For Master Loden, Bell thought, and that no one else may ever suffer at
the Nihil’s hands as he suffered.
The initial boarding attack had been designed for precisely this moment:
The mother ship of the Jedi group seized the Nihil craft in its tractor beam,
holding it fast, as the Longbeam on which Bell and his compatriots stood
angled itself to attach to one air lock and block several others. Docking—
rough, uneven, forced—shook the entire vessel, but the team remained
steady and alert, recognizing as one the moment when the vibration
signaled their penetration of the hull.
“For light and life!” Master Assek cried as they dashed into the Nihil
ship.
Bell had rarely felt the Force with him so powerfully as he did at the
moment he rushed forward into a blazing array of blasterfire, slashing
through the air that surrounded him so closely he could feel the heat. The
scent of ozone filled Bell’s breath. Yet his lightsaber blade deflected every
blaster bolt so smoothly that it seemed to be moving itself, aiming without
any conscious work from Bell other than fierce concentration. All around
him, he saw a sea of faceless, soulless masks—Nihil shooting, scattering,
scrambling—and, advancing upon them, the Jedi swift and sure.
“Now!” Master Indeera called over the fray, acknowledgment of the
warning from the Force they all felt. Bell ducked behind a metal girder to
shield him for the seconds it took to strap on his breather. No sooner had he
done so than the telltale hiss from the air vents revealed that the Nihil’s
poison gases had been deployed.
Too late, Bell thought with satisfaction. It’s your turn to be too late.
Master Indeera led the charge toward engineering, or what passed for it
on the cobbled-together, jury-rigged Nihil vessel. Bell and Burryaga fell in
directly behind. It would be up to Master Assek to hold off the Nihil near
the air lock; Bell’s job was to paralyze this ship.
Even running at top speed, Bell could tell that this ship was ramshackle
to the point of hazardousness; the interior was dismal, dull, and strictly
utilitarian. What made someone want to live like this? To join the Nihil,
visit infinite pain and destruction upon innocents throughout several
systems, and for what? Life on a dark, dank ship creeping along the edges
of space, with only the dim spark of potential future riches to provide any
light—something that was no life at all.
Bell’s wonderings only took up one small part of his consciousness,
musings he’d examine later. The present moment was for completing his
mission.
Green gas filled the corridors with toxic haze, to which the Jedi
remained impervious thanks to their breathers. However, the gases meant
that Bell felt the door ahead of them before he saw it. Master Indeera and
Burryaga must have as well, because they all skidded to a halt at the same
moment.
“Should we knock?” Bell asked. Burryaga groaned at the terrible joke.
Master Indeera simply plunged her lightsaber into the door’s locking
mechanism. The heated glow of melting metal illuminated all their faces in
pale-orange light for the instants it took for the door to give way. It stuttered
open to reveal only a skeleton crew, most of them young and unarmed, and
all too willing to surrender.
It helped Bell, knowing that he wouldn’t have to take additional lives.
What had to be done, had to be done—but the pain he felt over the tragedy
of Loden Greatstorm remained sharp. It could’ve pushed him in dangerous
directions. Instead he was satisfied with their capture, no more.
You taught me well, Master, Bell thought to the memory of the man that
he carried within his mind.
Once they’d finished rounding up the prisoners, Burryaga whined
curiously.
“Yeah, seems like a low crew contingent to me, too,” Bell said. “Do you
think Marshal Kriss’s pursuit of the Eye of the Nihil has shaken them up?
They might have deserters by the hundreds, even thousands.” He didn’t like
the idea of Nihil escaping any justice for the atrocities they had already
committed, but the most important thing was making those atrocities stop.
If the price of saving so many lives was a few Nihil deserters getting off
scot-free, so be it.
We’ve gone on the offensive, Bell told himself. We’ve outplayed the Nihil
at their own game. We did it for you, Master Loden, and for every other
person who suffered as you—
Bell couldn’t even think about it.
Burryaga didn’t seem to notice Bell’s distraction, for which Bell was
grateful. Instead the great Wookiee shook his head and growled.
“Sure, it was easy,” Bell agreed. “I don’t know if it was too easy, though.
No point in worrying about it if the Nihil are finally collapsing.”
In that, at least, Burryaga completely concurred.
Regald Coll had more of a sense of humor than most Jedi. At least, that was
what non-Jedi told him. Most of the other members of the Order didn’t
agree.
Or, as Regald would argue, they just didn’t have enough of a sense of
humor to appreciate his own.
“So what is it with the storm terminology?” he asked his newest
prisoners, a fierce-eyed adult named Chancey Yarrow and a young woman
who had identified herself only as Nan. “You’re all supposed to be one big
storm, but each group breaks down into Tempests and Strikes and Clouds.
How far does it go? Is one Nihil on their own, I don’t know, Slightly
Overcast?”
The prisoners had been caught near a Nihil fleet in the Ocktai system,
just one of the many raids on the Nihil occurring simultaneously. However,
their ship wasn’t definitively a part of that group, and at first he’d thought
they’d probably just question the women before letting them go. But Nan
had pulled a blaster on the first Jedi she saw, which prompted an identity
check, which then revealed her true affiliation.
Nan looked furious at having been caught. On the other hand, Chancey
Yarrow’s face remained utterly unmoved as she said, “You’re not as funny
as you think you are.”
“Probably not,” Regald agreed. “Because I think I’m hilarious, and
really, nobody’s that funny.” Enjoying his own jokes was enough for him.
“T’m not Nihil any longer,” Nan said. The words sounded strange—as
though she had to force herself to say them. “We work for—” She cut off as
she caught sight of her companion. Chancey Yarrow’s icy glare could’ve
frozen lava. Regald thought about making a “blizzard” joke to go with the
whole storm theme, decided against it. Nan finally finished, “We work for
ourselves. I haven’t been with the Nihil for months now.”
“Convenient timing,” Regald said. “And who knows? Maybe you’re
telling the truth. But you’! have to prove it before we can let you go.”
Meanwhile, the Gaze Electric rested in quiet space between systems far
away from the Jedi battle. No one on board even bothered monitoring the
current Jedi activity, much less worrying about coming to the defense of
their comrades. Instead it seemed as though nothing much was happening
other than some random, ordinary housekeeping. Certainly nobody paid any
attention as Thaya Ferr—a mere assistant, not a fighter—made her way
through the long corridors.
Thaya was a human woman of middle years and nondescript
appearance: flat brown hair pulled back into a practical tail, basic standard
coverall, no telltale streaks, no mask, no weapon. She held nothing more
interesting than a simple datapad.
This ’pad led her to the first door, the crew quarters for an Ithorian
woman. Thaya sounded the chime and arranged a blank, uninterested smile
on her face before the door slid open.
“Good morning,” Thaya said with all the meaningless cheer of a droid.
“You'll be happy to know that the Eye of the Nihil has found a new place
for you, one ideally suited to your talents. Details are here.” She handed
over a small datacard never pausing, lest the Ithorian say something.
“Please report to the main docking bay for a transport at thirteen hundred
hours today. Thank you!”
At that Thaya walked away, still smiling, leaving no opportunity for
argument, gratitude, or any response at all. The Ithorian’s reaction was
irrelevant. She would obey, which meant she would depart the ship days
before the Ithorian male she was partnered with. That Ithorian’s departure
needed to go unnoticed—and getting rid of the main person who would
notice helped with that.
It served other purposes, too. But Thaya would turn to those when she’d
finished delivering this first set of transfer orders.
As soon as she was done, she hurried back to the bridge of the Gaze
Electric. To the Eye. To Marchion Ro himself.
He sat in the captain’s chair, studying reports. Thaya could tell they had
details about attacks on other Nihil ships—ships loyal to Lourna Dee, and
therefore hardly Nihil at all anymore, in her opinion—and she gave them all
the attention she knew Ro would wish her to give them, which was none.
Instead she stood nearby, patiently waiting to be noticed.
Some on the bridge smirked at Thaya Ferr, and she knew why. She
wasn’t a power player; she was only someone who ran errands for
Marchion Ro.
Many people underestimated how much could be learned from such
errands, or how much a leader might come to rely on someone who took
care of such mundane, trivial concerns.
Thaya Ferr saw things more clearly.
Finally, Ro spoke to her. “You’ve put through the transfers?”
“Yes, my lord. Ill prepare the next orders for delivery later in the day.”
A few ears had pricked up at the mention of “transfers”—evidence,
perhaps, that some had lost the confidence and favor of Marchion Ro?
There would be an appetite for names, details, the better to sneer over the
fallen. As of yet, none of those on the bridge suspected that a transfer order
might be coming to them—which was precisely how Ro wanted it, and
precisely how Thaya intended to deliver.
Marchion Ro moved on to a different subject—one, Thaya noted,
guaranteed to draw attention away from any talk of transfers. “It appears
Lourna Dee’s capture is imminent.”
“Do the Jedi still believe she is the Eye of the Nihil?” She said this in
precisely the tone of disbelief she calculated would be most flattering to Ro.
He smiled just as she had foreseen. “They’ll know the truth very soon,
Ferr. For the moment, let them have their fun. Let them enjoy believing
they have defeated the Nihil.
“They will never have the luxury of that belief again.”
UY)
Chapter 1
S tellan Gios was among those Jedi who perceived the Force
as the entire firmament of stars in the sky. Points of brilliant heat and
energy, seemingly distanced from one another by infinite absence and cold
—but actually profoundly connected. Families, friends, tribes,
organizations: Each formed a different constellation, carving shape and
meaning from the sky. (Were not he, Avar Kriss, and Elzar Mann such a
constellation? Stellan had always thought so, even in childhood.) The Force
shone forth from them all, illuminating the vast dark; if Stellan but had the
ability to perceive every living being, it would have the same effect as being
able to see every star in the universe at once: total, pure, all-encompassing
light.
Rarely had he felt so close to that ideal moment as he did on this day.
Colorful banners streamed in the sunshine, fluttering over a throng of
thousands who were laughing, eating food from tents and carts, and
enjoying the beautiful day and—at last—a sense of true safety and
belonging. Or so Stellan liked to think.
Finally, he thought, we’ve regained the joy the Nihil stole from us for so
long. At last we can celebrate our unity the way we should’ve been able to
from the beginning.
Stellan stood at the head of the Starlight delegation upon a dais that
overlooked the celebration. In the eyes of most of the galaxy, Eiram was an
insignificant place, a tiny dot on a star chart too obscure to bother with. But
this had been one of the worlds that had led the campaign for this part of
space to finally join the Republic, which made their recent mission here all
the more symbolic.
Eiram had recently suffered a storm—the kind of vicious cyclone only a
handful of planets could muster, one that had at its apex covered almost an
entire hemisphere. Terrible winds had badly damaged the desalination
structures that supplied the planet’s only fresh water. This was a crisis that
would devastate an independent planet, leading to a mass exodus or even
starvation.
But planets in the Republic had a reason to hope.
“And so, instead of returning to its place in the heavens, Starlight
Beacon was transported here, to Eiram!” The storyteller gestured at the holo
that showed Starlight being towed through outer space, for only the second
time ever, following a lifesaving mission to the planet Dalna. Ringed
around the storyteller, dozens of children oohed and aahed in wonder. The
shimmer of the holo was reflected in their bright eyes. “The Republic and
the Jedi came to save us all, by bringing us water, supplies, and most of
all...hope.”
Stellan felt a faint twinge of regret that he hadn’t been here to personally
oversee the station’s moving and the beginning of the repairs. He’d still
been on Coruscant then, so he’d tasked Master Estala Maru with
supervising every step—not because he doubted the specialists, but because
it was so important for this to be absolutely right. Nobody in the galaxy
paid more attention to detail than Maru.
Upon Stellan’s return two days prior, the repairs for the desalination
plant weren’t entirely complete. All they had to do now, however, was
attach the sluice gates—something that would be accomplished as soon as
the tow craft were available, a week or two at most. The people of Eiram
might still have water rationing in place, but the rations were generous, and
after several weeks of hardship the planet was ready to celebrate.
Stellan said as much to Maru, who replied, “Right. It’s the perfect time
for everybody. But it doesn’t hurt that this is when the chancellor happened
to be free.”
“Such is the state of politics,” Stellan said.
In truth, it was good of Chancellor Soh to have made the time to attend,
even holographically. The flickering images next to him on the dais saw her
sitting comfortably in an informal chair, her enormous targons lying on
either side of her, dozing in the contentment of beasts. Stellan’s eyes met
Lina Soh’s, briefly—each sharply conscious of the memories of the
Republic Fair. The image of Stellan lifting her unconscious body from the
rubble had already become iconic: both of the evil of the Nihil, and of the
resilience of the Republic. Thus the two of them were in a strange way
bound together in the public eye; in the same way, Stellan had become the
Jedi, the symbol of the Order.
“If we’re a constellation,” Elzar Mann had said, before leaving for his
retreat, “the Council has made you the polestar.” Stellan would’ve liked to
disagree, but he couldn’t.
Stellan wasn’t sure how he felt about that. So he was guiltily relieved
that the chancellor hadn’t attended in person. Otherwise there would’ve
been pressure to come up with some new iconic image, somehow.
From the Jedi Council, his fellow members Masters Adampo and Poof
watched via their own holograms as well. Cam droids hovered amid the
streamers and balloons, capturing the event for people from Kennerla to
Coruscant. No matter how distant this part of the frontier might be from the
Galactic Core, the people of Eiram could know themselves to be truly as
much a part of the Republic as any other world.
“They’ve needed this,” Stellan murmured as he looked out at the revelry
of the crowd.
Maru surprised him by answering, “We’ve needed this.”
And that was the truth of it. Stellan’s keen gaze picked out white-and-
gold-clad figures among the festival-goers: Bell Zettifar and Indeera Stokes,
sipping bright-orange ram’bucha from their cups; Nib Assek helping
OrbaLin to make his way toward the dancers, the better to watch their
performance; and Burryaga, playing with some of the tinier children. Being
a Jedi was a sacred duty—but the light demanded more than obedience and
sacrifice. Sometimes a Jedi had to be open to the simple, pure experience of
joy. Today they all had that chance.
“A fine thing to see, isn’t it?” Regasa Elarec Yovet of the Togruta was
there in person, standing near the flickering image of Chancellor Soh.
It was the chancellor who answered, though Stellan entirely agreed: “It
is, Your Majesty. And it’s about time.”
“Tt is almost time, my lord,” said Thaya Ferr.
Marchion Ro gave his underling the slightest nod as he stared into the
depths of the holographic star chart. His preselected targets glowed red
among the whiter stars, and he studied each one in turn.
These were ordinary worlds. Large and prosperous enough to be of note
at least to neighboring systems, not so large as to have strong planetary
defenses or to draw undue attention. He walked through the holographic
chart, imagining the suns and planets pushing apart to let him pass.
The worlds he had chosen had two things in common: First, they all had
good communications systems that would allow them to reach officials on
Coruscant within minutes.
Second, they were all very, very far from Starlight Beacon.
He smiled his bloodless smile. “Begin.”
Aleen: a planet neither particularly obscure nor noteworthy. Although
Aleen had been racked by wars in its distant past, it was now a place where
nothing of significance had happened in a very long time—even by its own
inhabitants’ reckoning—and nothing of significance was anticipated for
perhaps an even longer time to come. The legends of the wars were enough
to make every soul on Aleen satisfied with an uneventful life.
Yeksom: one of the longest-standing Republic member worlds on the
Outer Rim, one that had suffered terrible groundquakes in recent years. The
Republic was helping the planet rebuild, but it was a protracted, painstaking
process. Its people remained guarded, uncertain, sad-eyed; everyone had
lost someone in the quakes, and grief veiled the world’s gray sky.
Japeal: a planet on the frontier, newly bustling, with no fewer than three
small space stations in various stages of construction. Its temperate climate
and plentiful water practically invited settlers to find a place they might call
their own. Dozens of species set up storefronts and eateries; engineers
mapped bridges and roads; families put finishing touches on brand-new,
prefab homes.
Tais Brabbo: Anyone on Tais Brabbo who wasn’t up to no good had
taken a wrong turn somewhere. Rumor had it the Hutts had considered
moving some operations onto Tais Brabbo but decided against it—the place
was too corrupt even for them. It was a good place to get lost, and on any
given day it housed millions of souls who wanted nothing more than to
remain out of sight of any authorities more powerful than the ineffectual
local marshals.
On each of these very different planets, under four different shades of
sky, millions of very different individuals were going about tasks as
divergent as spinning muunyak wool or taking bounty pucks when they
each heard the exact same sound: the thudding hum of spacecraft engines
descending.
All those millions of people looked up. They all saw Nihil ships
streaking down out of the sky—numerous as raindrops—the beginning of
the Storm.
Explosives dropped. Plasma weapons fired. The assault slammed into
homes, factories, bridges, cantinas, medcenters, hangars. There was no
specific target, because everything was a target. It seemed the Nihil wanted
to cause mayhem for mayhem’s sake, which nobody who had heard of them
found difficult to believe.
One passenger ship leaving Japeal at that very moment got lucky. It took
damage—a devastating hit to its port side—but was able to limp out of orbit
and even get into hyperspace. Its crew and surviving passengers thought it
was a miracle they were still alive and might even remain so, if they could
get to help in time.
The so-called “miracle” was, in fact, no more than a standing order
Marchion Ro had given before the Nihil attack began. Some people needed
to escape—because the Nihil needed them to run straight to Starlight
Beacon, where they would be given comfort, medical treatment, and the full
attention of the Jedi.
No sooner had Stellan Gios returned to Starlight Beacon from Eiram than
the news of the Nihil attacks arrived. Estala Maru, normally not given to
bad language, used phrases considered obscene on most planets when word
came in of the Aleen assault. “Still more Nihil, still attacking, and for what?
Nothing, so far as I can tell. They’re not even bothering to plunder ships or
planets any longer.” He shook his head grimly. “The Nihil mean to cause us
more trouble so long as there’s even one Cloud remaining.”
“This isn’t close to the scale of destruction we saw from the Nihil at
first,” Stellan said, reminding himself as much as Maru. “We’ve made real
progress. We ought to have expected to see the Nihil thrash around in the
group’s death throes. For now, our attention should remain on helping those
affected. It looks like some damaged ships are heading our way, no doubt
with some injuries aboard—”
“Already on it,” Maru said. The man’s fanatical attention to detail only
sharpened in times of crisis, and Stellan had rarely been gladder of this.
“T’ve sent a couple of the Padawans to ready the medical tower for a few
extra patients.”
“Excellent.” Stellan put one hand on Maru’s shoulder, a gesture of
gratitude. “Maru, sometimes I think you’re the one holding this place
together.”
“And don’t forget it,” Maru sniffed. His grumpy demeanor was only a
thin shield, however; Stellan saw the glimmer of satisfaction in Maru’s gray
eyes.
Stellan hurried away, leaving the situation that was being taken care of
to deal with the many that had yet to be resolved. A few damaged ships had
already signaled their need of a place to land, and more would be coming.
In truth, he was somewhat more disquieted by the Nihil assaults than
he’d let on to Maru. Stellan had had misgivings about Avar Kriss’s search
for the Eye of the Nihil from the very beginning; it felt too much like a
personal vendetta. Avar had walked away from Starlight Beacon—her
assignment from the Council, the very symbol of the Republic in this part
of space—all in the hope of making a capture others could have made
equally well. Was it possible that her search had antagonized the Nihil,
driven them to lash out instead of skulking off into oblivion?
Or maybe these scattered attacks are a sign that Avar’s plan is working,
Stellan allowed. The Eye is fleeing from her, possibly losing contact with the
Nihil at large. Perhaps what we’re seeing is the Nihil newly decentralized,
lashing out wildly before falling apart.
If so, Stellan would be the first to apologize to Avar for doubting her.
Until they knew more, however...he would keep his own counsel.
An electronic voice chirped: “Master Stellan Gios?”
Stellan half turned to see a logistics droid rolling toward him, coppery
and bright, with a vaguely humanoid body above a rolling base. “Yes—are
you delivering a message?”
“The message is that you are my new master. I am Jayjay-Five One Four
Five and I stand ready to label, prioritize, sort, file, collate, and otherwise
organize every aspect of your existence.” The droid practically vibrated
with readiness to begin.
“There must be a mistake, Forfive,” Stellan said. “I haven’t ordered any
droid, and the Council would’ve mentioned—”
“T am a gift,” JJ-5145 declared with apparent pride. “I come
compliments of Elzar Mann, who sends word that as he can no longer be
your right hand, he wished for me to serve in that capacity.”
There was almost nothing Stellan would’ve wanted less than a droid
following him around to organize everything.
Which, of course, Elzar knew perfectly well.
Stellan had previously been concerned about sending Elzar off to work
through his current crisis without accompanying him—as he had first
planned, and in fact promised. In the end, Stellan’s many tasks had not
allowed him any opportunity to step away, and he’d found an excellent
replacement to guide Elzar through this difficult passage. But he’d worried
that Elzar might on some level resent it...and in Elzar’s current state of
mind, that resentment could too easily have turned to darkness.
It now appeared that Elzar wasn’t resentful in the slightest—and only
irked enough to play a practical joke.
JJ-5145 said, “You have remained silent for three point one seconds. Do
you lack clarity on how to prioritize your thoughts? Voice them and I can
help you order them most efficiently.”
“That’s quite all right, Forfive,” Stellan hurriedly replied. “How about
you help the Padawans get the medical tower organized? That would be of
great assistance.” He guided the droid on its way, relieved to have
something else for it to do. Later he would ask it to schedule some other
tasks for a few days in the future.
One of those tasks would be, “Think up the ideal revenge for a practical
joke.”
The first ship to arrive at Starlight Beacon after the Nihil attacks was
neither damaged nor carrying the injured; it was the Longbeam tasked with
bringing some of the Jedi back from their raids on the Ocktai system, with a
handful of prisoners in tow.
Bell Zettifar, fresh from checking supply stores in the medical tower,
prepared to assist in the prisoner unloading—but his Master, Indeera
Stokes, waved him off. “There are only a handful of captives, and if help is
needed, I can supply it,” she said. “Take some time to yourself.”
No doubt she’d noticed how dark his mood remained, months after
Loden Greatstorm’s death. Bell didn’t want his new Master to think he
didn’t appreciate her—to let his admiration and grief for his old Master
cloud his new apprenticeship. (And it was clear he needed more time as an
apprentice. Bell’s conviction that he was ready to become a Knight had
turned to dust with Master Loden.)
That was something he should consider later. For now, there was little to
do besides say, “Thanks, Master Indeera.”
She nodded as she began to walk away. “We’|l all have plenty to do soon
enough. Best to take free time where it can be had.”
Burryaga, who was also at liberty, asked with an inquisitive growl
whether Bell might want to meditate together. Dual meditation techniques
sometimes succeeded where solo efforts failed; it was often easier to calm
another person, or to be calmed by them. It wasn’t a bad idea, but a
shadowy form at the far end of the corridor reminded Bell that there was
something much more important to do first—someone he hadn’t been able
to visit since returning to Starlight from Eiram that morning.
“Hang on just a second,” he said to Burryaga before dropping to his
knees and opening his arms wide for the shape hurtling toward him.
“C’mon, Ember!”
The charhound bounded from the shadows and leapt onto Bell,
welcoming him back with all the enthusiasm she could muster, which was a
lot. Bell allowed a couple seconds of frantic licking before he put his hand
out to calm his pet. Her fur blazed warm against his palm. “Steady, Ember,
steady. I’m back now.”
Ember wriggled with delight, and Bell couldn’t help grinning. There was
nothing like a pet to remind you to release your worries and live in the
moment.
Burryaga made a low, huffing sound. Bell glanced up to see his Wookiee
friend watching Jedi Knight Regald Coll lead the two Nihil prisoners away.
One was a tall, fierce woman with long braids and cheekbones sharp
enough to cut. The other was a girl not even his own age, her hair pulled
back in a tail, her garments slightly too large for her body—creating the
illusion she was even younger than her true years.
Bell knew the young woman’s face, not from personal experience, but
from security briefings.
“T thought of Nan as almost still a kid,’ Reath had warned them, soon
after word had come of her capture. “She’s not. She’s as capable as any
Padawan—arguably more than me, because she fooled me completely.
Don’t take Nan for granted.”
Bell figured that speech was mostly about making Reath Silas feel a
little better for having been so skillfully deceived. But as he watched Nan
walk away, head unbowed despite her cuffed wrists, Bell found himself
hoping Regald Coll had heard that warning, too.
“T suggest waiting before you question them,” Regald told Stellan Gios.
“Our transport was small. The Nihil prisoners might’ve heard about their
comrades’ successful attacks, and if so, that’11 make them—”
“Overconfident,” Stellan finished for him. “Exultant, even. Convinced
help will come quickly. When it doesn’t, then, perhaps, they’ll be ready to
talk.”
“They claim they’re not Nihil any longer,” Regald said, “but the girl
called Nan was absolutely with the organization just a few months ago, and
it’s a really convenient time for her to have left it, don’t you think?”
“But not impossible.” Stellan looked thoughtful. “If she did leave the
Nihil, and we can figure out why—it could provide some valuable
information about how to psychologically disarm the group.”
“Tt would save a lot of time. Still? I kinda doubt it.” Regald missed the
old days when he had worked in the Jedi créche, where when you saw a
problem (three-year-old fascinated by fire), the solution was obvious
(remove three-year-old from vicinity of fire). “Will you handle the
interrogation yourself, or will Elzar Mann take point? I’m happy to assist,
but I’ve got to warn you, my jokes make me a little less than intimidating.
Though there’s always the chance the captives will reveal all, just to get me
to shut up.”
Amusement played on Stellan’s features. “I’ll call on you if I become
truly desperate. Elzar, I fear, is unavailable. He’s off doing something even
more important.”
“And what in the worlds would that be?”
“Elzar is taking some time to strengthen his ties to the Force,” Stellan
said. “Connecting with the greater Jedi he may yet become.”
Star Wars : The High Republic : The Fallen Star
THE HIGH REPUBLIC
Light of the Jedi
The Rising Storm
Battlefront II: Inferno Squad
Heir to the Jedi
Doctor Aphra
Dooku: Jedi Lost Battlefront: Twilight Company
Master and Apprentice
i] THE PHANTOM MENACE eel THE EMPIRE STRIKES BACK
} RETURN OF THE JEDI
| | Vay el. ae) ma | mene) 1 The Alphabet Squadron Trilogy
The Aftermath Trilogy
Last Shot
Thrawn Ascendancy: Chaos Rising
Thrawn Ascendancy: Greater Good
Dark Disciple: A Clone Wars Novel Bloodline
Phasma
Canto Bight
i) a | REVENGE OF THE SITH
vt THE FORCE AWAKENS
Catalyst: A Rogue One Novel
Lords of the Sith
Tarkin
| vil THE LAST JEDI
Resistance Reborn
Galaxy’s Edge: Black Spire
Thrawn
A New Dawn: A Rebels Novel
Thrawn: Alliances
Thrawn: Treason THE RISE OF SKYWALKER
A long time ago, in a galaxy far, far away ....
The galaxy celebrates. With the dark days of the hyperspace disaster behind
them, Chancellor Lina Soh pushes ahead with the latest of her GREAT
WORKS. The Republic Fair will be her finest hour, a celebration of peace,
unity, and hope on the frontier world of Valo.
But an insatiable horror appears on the horizon. One by one, planets fall
as the carnivorous DRENGIR consume all life in their path. As Jedi Master
AVAR KRISS leads the battle against this terror, Nihil forces gather in
secret for the next stage of MARCHION RO’s diabolical plan.
Only the noble JEDI KNIGHTS stand in Ro’s way, but even the
protectors of light and life are not prepared for the terrible darkness that lies
ahead ....
Prologue
Ashla, moon of Tython
The screams had never left Elzar Mann. Many months had passed since
Starlight Beacon’s dedication ceremony, since he had stood alongside his
fellow Jedi. Since he had stood alongside Avar Kriss.
The eyes of the galaxy had been upon them in their temple finery, that
damned collar itching as he’d listened to the speeches and platitudes, first
from Chancellor Lina Soh, leader of the Galactic Republic, and then from
Avar. His Avar. The Hero of Hetzal.
The Beacon was their promise to the galaxy, Avar had said. It was their
covenant. He could still hear her words.
Whenever you feel alone ... whenever darkness closes in... know that the
Force is with you. Know that we are with you... For light and life.
For light and life.
But that hadn’t stopped the darkness from closing in later that day. A
wave of pain and suffering, a vision of the future too terrible to
comprehend. He had staggered, grabbing hold of a rail, blood gushing from
his nose as the pressure in his head threatened to split his skull in two.
What he had seen had haunted him ever since. It had consumed him.
Jedi dying one by one, picked off by a twisting, unfathomable cloud.
Stellan. Avar. Everyone he had ever known in the past and everyone he
would meet in days to come. Faces both familiar and strange torn apart.
And the screams.
The screams were the worst.
He had made it through the rest of the evening in a daze, going through
the motions, not quite present, the echo of what he had seen ... what he had
heard ... burned onto his mind’s eye. There had been mistakes, a few too
many glasses of Kattadan rosé at the reception, Avar asking for that dance
she’d mentioned, Elzar leaning in a little too eagerly, a little too publicly.
He could still feel her hand on his chest, pushing him back.
“El. What are you doing?”
They had argued, privately, his head still spinning.
““We’re not Padawans anymore.”
It had been months since he saw her again, and when he did, the
atmosphere was as frosty as a dawn on Vandor. Avar had changed toward
him. She was more distant. Preoccupied with her new duties as marshal of
Starlight Beacon.
Or maybe he was the one who was preoccupied. Elzar had meditated on
the vision day and night since the dedication. He should have gone to Avar,
to apologize and ask for her guidance, or if not her, then Stellan Gios, his
oldest friend, but Stellan had duties of his own. He was a Council member
now, responsible for guiding the Order as a whole. He would not have time.
Besides, asking for help was hardly Elzar’s style. Elzar Mann was the one
who solved problems, not posed them. He found solutions. Answers. New
ways of getting the job done. So, Elzar did what he had always done: He
tried to solve the problem alone.
First he had consulted the Archives in the Great Temple, poring over
countless textfiles and holocrons in the collection, even going so far as
attempting to decipher the mysteries of the Ga’Garen Codex, the ancient
grimoire whose text had confounded linguists for thousands of years.
Even then, sitting in the Archives, under the watchful gaze of the statues
of the Lost, Elzar had heard the screams at the back of his mind, seen the
faces of the slain in every reflective surface or passing Padawan.
The Codex had brought him here, to Ashla, Tython’s primary moon. The
ancients had called this stretch of land the Isle of Seclusion, which was
exactly what he needed if he was ever going to fully understand what he
had seen. He needed solitude; focus. The last straw had been receiving a
message from Stellan’s old Master, the esteemed Rana Kant, congratulating
him on his elevation to Jedi Master. Furthermore, the Council had a posting
for him; he was to be marshal of the Jedi outpost on Valo on the edge of the
Rseik sector.
Him? A marshal? How could they be so blind? Couldn’t they see he
wasn’t ready? Couldn’t they see how troubled he was?
Elzar walked toward the ocean, feeling the warm sand beneath his feet,
discarding his outer robes as he approached the water. Yes, this was better.
This was where he would finally see the truth. Where he would finally
understand. He didn’t stop at the shore but strode out purposefully into the
waves. Up to his knees. Up to his waist. Soon he was swimming out to sea,
stopping only when he could no longer see land. He spun slowly, treading
water, surrounded only by the sea and the Force itself.
It was time.
Elzar took a deep breath and pushed himself down beneath the waves,
eyes closed, water rushing into his ears, blocking every other sound.
Show me.
Guide me.
Give me the answers I seek.
There was nothing. No revelation. No response.
He kicked back up, drawing air into his lungs before plunging back down
again.
Tam here.
I want to learn.
I need to understand.
Nothing changed.
Where were the answers he’d been promised? Where was the
understanding?
He repeated the ritual, breaking for air, plunging back down, letting the
ocean swallow him whole. Again, and again, and ...
It was like hitting an air pocket. All at once he wasn’t sinking, he was
running, his fellow Jedi at his side as nightmares snapped at their heels.
They weren’t in water, but in fog. Thick. Acrid. Impenetrable. Nothing
made sense. Not the chaos, not the panic.
Not the fear.
He opened his mouth to cry out, seawater rushing in from far away, from
a different world, from a different time.
What is this?
Where is this?
Speak to me!
And the Force spoke with such strength that Elzar was thrown into a
spin, images flashing past his stinging eyes like purple lightning.
Avar.
Stellan.
A Tholothian ... Indeera Stokes? No, one of her tendrils was missing, an
unfamiliar face contorted in rage.
Bones splintering.
Skin cracking.
Eyes clouded, no longer able to see.
And the screams. The screams were louder than ever. Harsher than ever.
And his scream was loudest of all.
Where?
Where?
WHERE?
Elzar’s shoulders heaved, seawater spluttering from his lungs. He was
back on Ashla’s shore, salt drying on his skin, baked by the burning sun. He
looked around, eyes still blurry, trying to focus on the golden sands that
stretched out to either side of him, wingmaws circling in the sky above,
ready to pick the flesh from his bones. But he wasn’t dead yet. None of
them were.
He pushed himself up and stumbled back toward his Vector, gathering his
robes as he went. He needed to get off Ashla. Needed to leave the Core. The
Force had spoken. It had already answered his question, if only he had
listened.
One name, a planet, where he would finally be able to put things right.
Valo.
CHAPTER ONE
The Rystan Badlands
A comet plowed into the ice field, setting off a devastating chain reaction.
Asteroids and space rocks bounced off one another like billiard balls. The
only difference here was that most of the balls weighed millions of tons and
could crush a ship like an egg. Those that weren’t completely obliterated by
the impacts were reduced to razor-sharp shards that only added to the wave
of destruction.
No spacer entered the Rystan Badlands lightly. The ice field was filled
with the twisted wreckage of cruisers that had attempted to run the gauntlet
of colliding planetoids and failed. On a good day it was a dangerous, idiotic
endeavor. On a bad day it was suicide.
Today was a very bad day.
The Squall Spider bucked as it weaved through the spinning rocks. The
craft was small, barely larger than a shuttle, but it was fast and as
maneuverable as any of the Jedi’s famed Vectors. In fact, anyone watching
the strange arachnid-like craft could have been forgiven in thinking that a
Jedi sat at the controls. Who else could have negotiated the ever-shifting
starscape, weaving left and then right to avoid being pulverized by giant
balls of ice? But the being in the pilot’s seat couldn’t have been further from
a Jedi. The Jedi were the defenders of life and light the galaxy over. They
lived for others, never for themselves, maintaining peace and harmony
wherever they roamed. In short, they were heroes.
Udi Dis, on the other hand, had been born a Talortai but now only
identified as a Nihil. As broad as he was tall, the avian had dedicated his life
to piracy and plunder, taking what he wanted and decimating whatever was
left. It wasn’t a noble life, but it was the only one he knew, and it had given
him a place in the universe that had repeatedly spat in his face.
The only thing Dis had in common with the Jedi was his connection to
the Force. Many Talortai were sensitive to the energy field that bound the
universe together, but few of his species ever made use of it, the cowards.
They said it wasn’t their right, that to do so was somehow immoral. Dis had
never understood why. If you were lucky enough to have abilities, shouldn’t
you use them, hone them to gain an advantage over those who didn’t? This
was why the majority of Talortai were doomed to remain where they were,
scratching out a meager existence on Talor while he was out here in the
stars. Sure, he had been let down many times, sometimes by others, most
often by himself, but the Force had never betrayed him, not once. Life
would have been better if he hadn’t gotten himself addicted to reedug, but
for now he was sober and had never felt so alive.
Dis clutched the controls with clawed hands, his muscled arms bunching
as he slewed the Spider sharply to starboard, skillfully avoiding the debris
that, with a lesser pilot at the helm, would have killed everyone on board.
But Dis knew the badlands like the back of his feathered hand, even though
he had never flown them before. All Talortai had an innate sense of
direction, feeling the vibrations of the cosmos in their bones, but Dis’s
navigational skills were off the chart. Thanks to his talents, he could feel the
location of every asteroid in the field. He didn’t need maps or even a
navidroid. All he needed was the Force.
Behind him, the door to the Spider’s cockpit slid open, stale air gushing
from the planet-hopper’s cramped corridors. Dis didn’t turn to see who it
was. There was no need. He heard the scrape of the boots on the deck
plates, felt the swish of the cloak through the air, Dis’s feathers ruffling in
response to the presence of the man he had pledged to serve for the rest of
his life.
Marchion Ro.
The Eye of the Nihil.
Had he been surprised when Ro approached him about this mission? Of
course he had. He had no idea the Eye even knew his name, let alone what
he could do in the pilot’s seat. Dis had spent the last few years serving on
the Cloudship of a saw-mouthed Crocin who went by the name of
Scarspike, a thug who spent more time abusing his crew than planning
raids. And it showed. Dis had killed Scarspike after a botched attack on
Serenno’s funeral moon. They had lost three Nihil that day, but Scarspike
had lost more, Dis opening his scrawny throat with a slash of a wingblade.
Dis had no idea if the Cloud’s slaughter had first brought him to the Eye’s
attention. Maybe, maybe not. All Dis knew was that he suddenly found
himself elevated beyond the Strikes and the Clouds and all the Nihil’s ranks
to join Ro’s personal retinue. His aggrandizement didn’t go unnoticed. The
Nihil had a strict hierarchy. You started as a lowly Strike, working your way
up to Cloud and eventually to Storm. The Nihil horde was organized into
three Tempests, each commanded by a Tempest Runner. There was Pan
Eyta, a towering Dowutin with ideas above his station, the cold and
efficient Twi’ lek Lourna Dee, and the latest appointment, a scheming
Talpini known as Zeetar. It was fair to say that the Talpini’s promotion had
put Pan’s squashed nose out of joint. Dis’s sudden promotion had only
rankled him further. Pan and Dis had almost come to blows, the Dowutin
claiming that Ro was undermining the Nihil’s Rule of Three. Unlike the
Tempest Runners, the Eye was supposed to have no crew of his own. Yes,
he had the casting vote when making plans, and yes, he provided the
navigational Paths that the Nihil used to avoid Republic entanglement (well,
most of the time, at least). Dis suspected that if it weren’t for the Paths, Pan
would have sent Ro spinning out of an air lock long ago, but the
navigational aids were too valuable. They gave the Nihil the edge, so Eyta’s
concerns fell on deaf ears. Dis was welcomed aboard Ro’s vast flagship, the
Gaze Electric, which was largely maintained by a crew of silent droids, its
many chambers empty, like a palace with no occupants. It was here, in Ro’s
inner sanctum, that Dis had learned they were heading to Rystan on a
private mission—not that they could have taken the Gaze, of course. The
ship rarely left the Nihil’s base on Grizal, and even then split itself into a
smaller secondary craft that left the bulk of the Gaze behind, but even that
would be too cumbersome to make it through the ice field in one piece.
They needed something smaller. They needed the Squall Spider.
“How long until we clear the badlands?” Ro asked, resting a gauntleted
palm on the back of Dis’s seat.
“Just a few minutes, my ...”
Dis swiveled in his chair to face his leader. “I still don’t know what I
should call you. My Eye? Sir?”
Ro’s thin lips curled at the obvious distaste in Dis’s voice, his dark eyes
glinting in the red light that streamed in through the viewport.
“You can call me ... Marchion.”
Dis’s chest swelled. He had never been one for the chain of command,
which was probably why he had stayed a Strike for so long; that and the
fact he’d spent most of the last decade in a reedug stupor. But now look at
him, on first-name terms with Ro himself. No one called the Eye Marchion,
not even Pan.
“T still think it would’ ve been easier to use a Path,” Dis said, finally
bringing the Spider out of the ice field to slingshot around Rystan’s weak
Star.
Ro walked over to the vacant gunner’s station to recover his mask, which
had remained on the console ever since they had left the Great Hall.
“But then I wouldn’t have seen a master at work,’ the Eye replied,
wiping the mask’s frosted visor with his sleeve. “You’re every bit as
impressive as your heritage suggested you would be, especially now that
you’re free from your ... affliction.”
Yeah, he was free all right. Ro had made Dis throw what little remained
of his stash into a trash compactor back on board the Gaze. His mind was
clear for the first time in years, his connection to the Force stronger than
ever. There was no way he could have made it through the ice field when he
was on reed. He owed Ro so much.
“And to think we had a Force-user in our midst all these years ...” Ro
continued, checking the filters of his mask. “Scarspike was a fool. I’m glad
he’s dead.”
You re not the only one, Dis thought, but kept the thought to himself as
the Spider dropped into Rystan’s thin atmosphere.
“Have you ever been to a tidally locked world?” Ro asked.
Dis shook his head.
“They’re fascinating,” the Eye told him. “One face constantly angled
toward the sun, its surface little more than charred desert.”
“While the other’s a frozen wilderness,” Dis said, the blasted terrain not
inspiring much confidence. “So where do we land?”
Ro pointed at a band of barely habitable land that ran between the two
extremes. “There.”
“Is there a spaceport?”
“Not exactly.”
Ro directed them to a patch of barren ground, clumps of rollweed
tumbling across the wasteland.
“Are you sure this is the place?” Dis asked as the landing gear deployed.
“There’s nothing here.”
Ro merely smiled as he slipped his mask over his head. “Oh, you’ll be
surprised ...”
CHAPTER TWO
The Cyclor Shipyards
Not long ago, Padawan Bell Zettifar would have been excited by the sight
that stretched out beneath him. He was standing on an observation platform
in the largest hangar he had ever experienced, just part of the vast shipyards
that orbited Cyclor, a relatively small green-and-brown planet in the Mid
Rim. Below, gleaming bright in the hangar’s floodlights, was the vision in
polished durasteel known as the /nnovator. The starship, now hours from
launch, was a technological marvel. Over 300 meters long and bristling
with the latest scientific and medical equipment, the Innovator was quite
simply the most sophisticated research vessel ever built, a fact its designer
—the famed Aqualish engineer Vam Targes—had told Bell himself when he
had arrived at the shipyards.
“Tt runs on a network of no fewer than forty-two intellex-grade droid
processors, don’t you know?” Targes had informed him as they strode
through the ship’s vast operations center on a whirlwind tour, the engineer’s
vocoder whirring excitedly as it translated Vam’s native Aqualish to Basic.
“That’s very ... impressive,” Bell had offered, only to be told in no
uncertain terms that it was considerably more than that. It was outstanding!
“The entire network is supported by a multi-motion framework of my
own design, one that rivals the Jedi Archives on Coruscant, if I do say so
myself.”
Bell didn’t know if that was true, but he hadn’t wanted to contradict the
engineer. This was Vam’s moment, after all, or rather it would be when the
Innovator arrived on Valo in a couple of days. The ship was to be a
showpiece at the upcoming Republic Fair, the latest of Chancellor Lina
Soh’s Great Works. Soon millions of festival-goers would be marveling at
Targes’s achievement, and if they were anything like Bell, they would be
dazzled. The Innovator boasted state-of-the-art cybernetic workshops
alongside multiple bioengineering labs, analysis stations, research facilities,
and a medical library second only to the Docha Institute on Dunnak.
But as extraordinary as the craft undoubtedly was, it was still nothing
compared with the beings who had constructed the ship rivet by rivet. The
Cyclorrians were a wonder, unlike anything Bell had seen before. Insectoid
in nature, they stood about a meter in height with large bulbous heads
dominated by a pair of large compound eyes, much like the heat-flies that
had buzzed through the halls of the Jedi outpost on Elphrona where Bell
had received most of his training. He watched as they swarmed across the
glistening hull, completing final checks, each Cyclorrian working in unison
with their teammates without seeming to utter a single word. It was
incredible. Each seemed to know exactly what job needed doing
instinctively, none of them getting under one another’s feet, each perfectly
complementing the next. And the enthusiasm for their work was infectious.
In the twenty-four hours since he had arrived, Bell hadn’t seen a single
Cyclorrian complain, despite Targes’s reputation as a strict taskmaster. The
insectoids just kept on working, hour after hour, antennae twitching happily
as they buzzed from one task to the next. You couldn’t help but smile in
their presence. It was exactly what Bell needed, especially now.
Beside him, Ember stirred. The charhound had been sitting patiently at
his feet, Bell’s constant companion since they had left Elphrona. The dog
had started life as a stray that had been adopted by the Elphronian Jedi,
becoming something of a mascot at first and a loyal friend ever since. When
Bell had left Elphrona, Ember had simply hopped into his Vector, her
intention of staying by his side clear. She had been there ever since, his
guardian and confidante. Now she was on her feet, looking expectantly at
the door of the observation platform as it swished open to allow Indeera
Stokes entry. The aging Jedi laughed as Ember bounded over, jumping up
onto the Tholothian’s legs to be rewarded by a tickle beneath the orange-
flecked chin.
“Yes, yes,” Indeera said. “I’m pleased to see you, too. Now down you
get. That’s it. Good girl. Good girl.”
Ember obeyed, trotting back over to Bell where he had remained at the
edge of the platform. Bell looked down at her and smiled, the charhound’s
excited tail thwacking against his boots.
“I’m sure she likes you more than she does me,” he commented as
Indeera joined him.
“T think we both know that’s a lie,” she said, joining him to gaze down at
the majestic craft below. She leaned against the railing, shaking her head at
the spectacle of the Cyclorrians hard at work. “Stars above, it takes your
breath away, doesn’t it?”
“Indeed it does, Master. The Jnnovator is as impressive as those who
constructed it.”
As always, Bell felt a pang as he addressed Indeera by her title. It was
true, the Tholothian was his teacher now, having agreed to take on his
training after his previous Master, Loden Greatstorm, had been lost
defending settlers against the Nihil nearly a year ago. Their last
conversation played regularly through his mind, Loden at the controls of his
Vector.
“Tm not your Master anymore, Bell. Yow re a Jedi Knight.”
“ Not until the Council declares it, and I want you there when it
happens.”
Now that would never be. Loden had told him that he would see Bell
soon and had never come back from the attack. No one knew what had
happened when Loden had abandoned his Vector ... their Vector ... to save
the Blythe family from the Nihil. The Vector had been reduced to atoms by
a Nihil cannon, and Loden, well, he was just gone. Indeera constantly
reminded Bell that Loden’s final wishes had been for his Padawan to be
Knighted, but Bell knew he wasn’t ready. How could he be, when he felt so
empty inside, like something was missing?
“Bell?”
He swallowed, suddenly aware that Indeera was studying him. His new
teacher, no matter how weird that felt. And it shouldn’t. He’d known her for
years, even fought by her side, and respected her more than any Jedi alive,
which, of course, was the problem. Loden Greatstorm wasn’t coming back,
that much had become blatantly clear, but no matter how much Bell
admired Indeera, she could never replace the noble Twi’ lek.
Bell offered a weak smile. “I was just thinking about how excited the
crowd will be at the Republic Fair, seeing the Jnnovator for the first time.”
“They will. And what about you?”
“What about me?”
“Are you looking forward to Valo?”
He shifted uncomfortably, careful not to kick Ember who was nuzzling
against his legs, her pelt warm through his synthleather boots. “It will be
good to see Mikkel and Nib. And Burry, too, of course.” That was all true.
He’d come to think of all three as friends, especially the Wookiee Burryaga,
whom he had gotten to know after serving together at Hetzal.
“Of course,” Indeera parroted, still regarding him with those warm eyes.
“There will be much to experience together.” She looked back at the ship.
“Loden would have loved it. He would have loved this.”
A lump formed in Bell’s throat as Indeera continued. “I can imagine him
standing here with us, watching the Cyclorrians work, appreciating their
skill.”
Bell’s voice cracked as he tried to control his emotions. “And what do
you think he would say? If he were here?”
The Tholothian pursed her lips. “I think he would compliment you on the
shine of your holster buckle, tell you to smile more often, and point out that
if you’re ever going to master a lateral roll you’re going to have to log at
least two more hours a day in your Vector.”
A grin broke out on Bell’s face, despite himself. The last part of the
sentence was pure Indeera, who always seemed happier in the sky than on
her feet.
“He would also remind you how a Jedi faces the death of those they
love,” she continued, and Bell’s smile immediately dropped away. “Because
Jedi can love, Bell. We’re not droids, nor should we ever be. We are living
creatures rich in the Force, with everything that brings. Joy, affection, and,
yes, grief. Experiencing such emotions is part of life. It is light.”
“But—”
“But while we experience such emotions, we should never let them rule
us. A Jedi is the master of their emotions, never a slave. You miss what you
might have shared with Loden if he were here. That is natural. I miss him,
too. And so we acknowledge that hurt. We understand it, even embrace it,
but eventually ...”
“We let it go,” Bell said, looking back at the Innovator so Indeera
couldn’t see the tears she must have known were in his eyes.
The Tholothian reached out, placing a comforting hand on Bell’s
forearm. “I didn’t say it was easy. Just like a lateral roll.”
That made him smile again, as did the slight squeeze she gave him before
turning back toward the ship. “Besides, no one is ever really gone. No
matter what happens, Loden will be with you, now and forever. He is a part
of all of us now.”
Again the tears pricked his eyes. “Through the Force.”
“Through the Force,” she agreed. “You believe that, don’t you?”
He nodded, hoping that she was fooled while knowing full well that she
wasn’t. “Yes. Of course I do.”
“I’m glad to hear it,” she said, not sounding convinced. “Now, unless
there’s anything else ...”
“We should get off this platform and actually do something with the day,”
he said, keen to bring the conversation to an end.
Indeera’s comlink beeped before she could respond.
“Maybe the Force agrees with you, my not-so-young Padawan.” Indeera
fished the comlink from beneath her tan-colored jacket and activated the
channel.
“Stokes here.”
“This is Stellan Gios,” a voice crackled over the link, the Jedi Master’s
usually rich tones rendered tinny by the vast distance between them. While
Starlight Beacon had improved communications on the frontier, the comm
network was still stretched to breaking point, even here in the Mid Rim.
Chancellor Soh had promised a complete line of Beacons stretching from
the Core to the farthest reaches of the Republic, but until that pledge
became a reality, they would have to cope with bouts of static that
frequently drowned out communications.
“Apologies, but can you repeat that?” Indeera was forced to say as the
rest of Master Gios’s greeting distorted beyond recognition.
“Of course,” he complied. “I was just checking on your progress for my
report to the Council. Will the Jnnovator be ready to launch on time?”
“Ahead of schedule,’ Bell cut in, before blushing as he realized he had
spoken when the question was directed at his Master. Indeera made a show
of rolling her eyes, although the smile on her lips told him he wasn’t in
trouble. For all her wisdom, she wasn’t one to stand on ceremony.
“Tm glad to hear it ... Padawan Zettifar, isn’t it?”
Bell nodded even though Stellan couldn’t see him. “Yes, Master Gios.
The Cyclorrians are a marvel, as is the Innovator.”
“Then I look forward to seeing it for myself, and to finally meeting you,
of course. Nib Assek has been singing your praises.”
Bell’s blush deepened. “She is with you?”
“On our way to Valo, yes. She’s looking forward to seeing you again.”
“She is too kind,” he stammered, not knowing what to do with himself.
“And my Padawan is too modest, even for a Jedi,” Indeera cut in. “The
Force has blessed him, as you will see for yourself, old friend.”
Bell’s eyebrows shot up. He had no idea that Indeera knew Gios, let
alone that they were as close as her tone suggested.
“T don’t doubt it,” Stellan said. “Until Valo, then. I hear the pickled
cushnip is to die for.”
“Better than we ate on Theros Major? I’ll be the judge of that.”
Stellan chuckled on the other end of the line. “Why am I not surprised?
Now, if you'll excuse me, I have an appointment with a cam droid.”
It was Indeera’s turn to laugh. “Well, if you will get yourself promoted to
the High Council ... People will be asking for your autograph next.”
“T’ll send them your way instead. Gios out.”
‘““What’s he like?” Bell asked as Stokes slipped the comlink back beneath
her soft leather jacket.
“Stellan? One of the finest Jedi ’ve ever known. We met on Caragon-
Viner, long before I went to Elphrona. He’s younger than me, of course, but
Indeera paused, her white tendrils shifting slightly on her shoulders. Bell
didn’t have to ask why. He had felt it, too, a cooling in the Force, its flame
dimming just for a moment, before burning brighter than before.
“Something’s wrong,” he stated simply, Ember jumping up as the
atmosphere between the two Jedi shifted, her hackles raised.
“That’s an understatement,” Indeera agreed, already making for the
platform’s doors. “Inform the /nnovator we’re on our way.”
Star Wars : The High Republic : The Rising Storm
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STAR
WARS
The Skywalker Saga
and Beyond
CONTENTS
4 Force of Impact
THE MOVIES
8s From A New Hope to
The Rise of Skywalker
41 Howto Watch
34 The Music:
John Williams
37 Who Lived and
Who Died
42 Ready for His
Close-up:
George Lucas
50 Creating the
Canvas: Ralph
McQuarrie
EXPANDING
THE GALAXY
54 Shows of Force:
Star Wars on TV
60 A Child Star Is Born:
Grogu
68 More Fan Favorites
64 The New Architect:
Dave Filoni
67 Man of Mystery:
Boba Fett
68 The Never-Ending
Stories
972 A Pop-Culture
Force
Parts of this edition appeared previously in the Los Angeles Times.
THE =
FANDOM
76 The Ultimate
Fan Festival
80 Lights!
Camera!
Action Figures!
84 A Not-So-Special
Holiday Special
ss Dream Parks
96 Intothe Woods
In The Last Jedi, Rey (Daisy
Ridley) learned the ways of the
Force from Luke Skywalker.
Force of Impact
For 45 years, the Star Wars franchise has
' captivated us with tales that are simultaneously
fantastical and relatable.
BY COURTNEY MIFSUD INTREGLIA
I WATCHED MY first Star Wars film,
A New Hope, when I was 11. I’ll never
forget the unease that set in as the
diminutive blockade runner was cap-
tured by the imposing Imperial star
destroyer. And then the stark, peaceful
interior of the Rebel ship was invaded
by an onslaught of stormtroopers with
varying marksmanship prowess and a
menacing villain who seemed neither
man nor mechanical.
The intense opening was lightened
by two bickering droids, a blond teen-
ager squabbling with his aunt and
uncle, and a world that was surprising
and delightful at every turn. After that
initial viewing, I clamored to watch The
Empire Strikes Back and Return of the
Jedi and continued my marathon with
The Phantom Menace and Attack of the
Clones. Revenge of the Sith wouldbe the
first of several Star Wars films that I’d
see in a theater on opening night.
Immensely popular, the initial
releases of the 11 Star Wars films earned
$4.7 billion at the U.S. box office, which
amounts to more than $73 billion when
adjusted for inflation. That does not
include the multibillion-dollar mer-
chandise industry, or the multitude
of sequels, spinoffs, games, books and
comics that the franchise has spawned.
4 LATIMES STAR WARS: 45 YEARS LATER
With a legion of fanatics and casual
fans, the saga has become embedded
into modern culture. Forty-five years
on, what's the reason for its astonishing
success?
A New Hope fundamentally changed
the aesthetics of Hollywood films and
championed a boom in state-of-the-
art special effects in the late 1970s. And
although itis often characterized as sci-
ence fiction, it’s really so much more.
The film is space opera meets fantasy
meets Western, along with several
other genres. A New Hope pioneered
genre pastiche, which merges several
classic film genres into one movie.
By drawing inspiration from the past,
George Lucas created a nostalgic
quality that connected with movie-
goers beyond the initial 1977 premiere.
The Star Wars franchise has also
been able to adapt and evolve with the
times, connecting with each new gen-
eration. Despite the mediocre reviews
from critics and adult fans, the pre-
quels were considered cool among
middle schoolers. With newer anima-
tion styles, a star-studded cast, acro-
batic lightsaber fights and a myriad of
spectacular alien species, Episodes I, IT
and III captivated a younger audience.
Animated series like The Clone Wars
also introduced the mythos to a new
demographic of fans.
With Disney’s acquisition of
Lucasfilm in 2012, the subsequent
sequel trilogy appealed to the newest
era of fans with a new lovable droid,
imaginative landscapes and cuddly
puffin-inspired porgs. Now, with The
Mandalorian, The Book of Boba Fett,and
soon Obi-Wan Kenobi dominating the
streaming platform Disney+, the expan-
sion of the Star Wars universe promises
to welcome even more wannabe Jedi.
For many, like me, Star Warsis about
family. The core nine films center on
the Skywalker clan, including a trou-
bled father once hailed as “the chosen
one” and his twins, a princess turned
politician/matriarch and a tempera-
mental runaway with something to
prove. These stories became central in
the tale of my own family.
With four December releases
between 2015 and 2019, returning
home for the holidays meant watching
the latest film together, sharing
our favorite parts—and sometimes
moments we wished had happened
differently. Star Wars fans are known
for our strong opinions on the films,
and that’s because these stories are so
close to our hearts. @
*
“researched kids’
movies and how they
work and how myths
work, and | looked very
carefully at the elements
of films within that
fairy-tale genre which
made them successful,”
George Lucas (with Yoda
in 1989) once said.
George Lucas’ sci-fi saga has captivated
audiences for decades with 11 films that have transported
us toa galaxy far, far away.
. ‘ . : * 2 =
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~ 6 LA iis STAR WARS: 45 YEARS LATER”
: Y Saar :
Darth Vader’s TIE fighter
pursued Luke Skywalker
during the Battle of Yavin
»in A New Hope.
.
Rebellion heroes Luke
Skywalker (Mark Hamill),
Princess Leia Organa
(Carrie Fisher) and Han Solo
(Harrison Ford).
8 LA TIMES STAR WARS: 45 YEARS LATER
EPISODE IV
A New
Hope
A franchise was born
with a sci-fi spin on
the classic battle
between good and evil.
Director: George Lucas
Release date: May 25, 1977
LUKE SKYWALKER begins a journey
that will change the galaxy as he leaves
his home planet of Tatooine, meets
lifelong friends (Han Solo, Chewbacca,
R2-D2, C-3PO, etc.), helps rebel-
lion leader Leia Organa battle Darth
Vader and the evil Empire, and learns
the ways of the Force. The rebels ulti-
mately destroy the Empire’s Death Star,
bringing a temporary peace.
Original Los Angeles Times review by
Charles Champlin
Star Wars is Buck Rogers with a
doctoral degree but not a trace of neu-
roticism or cynicism, a slam-bang,
rip-roaring gallop through a distantly
future world full of exotic vocabularies,
creatures and customs, existing cheek
by cowl with the boy and girl next door
and a couple of friendly leftovers from
The Planet of the Apes and possibly one
from Oz (a Tin Woodman robot who
may have got a gold plating as a gradu-
ation present).
After a once-upon-a-future-time-
crawl establishing the story line (the
Clockwise from top: Darth Vader (played by David Prowse but voiced by James Earl Jones) battles Obi-Wan Kenobi
(Alec Guinness); Leia and Luke make a daring escape; Chewbacca (Peter Mayhew) and Han Solo.
brave rebels encamped on a secret star
and darting out to do battle with the
vastly larger Imperial forces), Lucas
plunges into the thick of things. His
script takes it for granted that we know
the lingo (we don't, but that’s the fun of
it) and who’s who. We catch on quickly.
Mark Hamill is our likable young
hero, rocketing around in the space-
time equivalent of a Ford Roadster and
eager to try bigger stuff. He’s the orphan
of a warrior who died bravely at the
treasonable hand of a friend.
Events thrust Hamill into cahoots
10 LATIMES STAR WARS: 45 YEARS LATER
with his father’s old comrade in arms
(Alec Guinness) and with the prin-
cess (Carrie Fisher) trying to
get a desperately impor-
tant secret message back
to the rebels. It could, TITLE TWIST
dothel ial d Hl The first Star Wars
UnGO the Am perials an t movie wasn’t officially
ends hardly matters. The narrative
space is jet-propelled or rocket-thrust
and the invention is contin-
uous, the crafts and sets and
space complexes genu-
inely amazing in their
minute detailing and
their cruel leader(Peter | rechristened : believability...
Cushing). \. Pplsodelv—ANewHope Itis hard to think ofa
: ‘. untilit was rereleased
Harrison Ford oper- * in 1981. place or an age group that
would not respond to the
enthusiastic inventiveness
with which Lucas has enshrined
his early loves. @
ates a tramp space freighter,
no questions asked about
cargo or passengers.
What all happens and how it all
CHRONOLOGY
How to Watch the Movies
What’s the optimal sequence for your Star Wars binge?
Weighing the merits of release versus episode order.
BY COURTNEY MIFSUD INTREGLIA
From “Who shot first?” to the
meaning of midi-chlorians,
debates among Star Wars
fans are as common as
lightsabers and incapable
stormtroopers. But perhaps
no opinion is as contested as
the optimal order in which to
watch the movies. With nine
feature films highlighting
the Skywalker saga (as well
as two standalone films) re-
leased in batches over more
than four decades, there are
multiple points of entry for
anewor returning viewer to
begina movie marathon.
Many, including the
franchise’s creator himself,
argue that despite the release
order, watching the movies
in episode order (beginning
with The Phantom Menace and
watching through to The Rise
of Skywalker) tells a complete
story chronologically. “Start
with one. That’s the way to do
it right: 1, 2, 3, 4, 5, 6. That’s
the way they’re supposed to
be done,” George Lucas told
Vulture in 2015, prior to the
release of The Force Awakens.
“Just because it took along
time to film it doesn’t mean
you don’t do it in order.”
According to Lucas, he in-
tended for the story of Anakin
Skywalker, as told in the
prequels, to be released first.
“(had planned for the first tril-
ogy to be about the father, the
second trilogy to be about the
son, and the third trilogy to be
about the daughter and the
grandchildren,” he explained
in The Star Wars Archives:
1999-2005, written by film
WARS |
i
|| STAI
Re
Crowds showed up to see Star Wars—eventually known as A New Hope, the fourth chapter of the
story—at Grauman’s Chinese Theatre in Hollywood in 1977.
historian Paul Duncan.
But those plans did not come
to pass. The story of the
original 1977 release and all
the necessary world-building
used a narrative technique
known as in medias res, which
is Latin for “into the middle of
things.”
ANewHope throws the
viewer right into the action
with a shot ofa Star Destroyer
in hot pursuit of Princess Leia’s
blockade runner above the
planet Tatooine. The viewer
is plunged into this foreign
universe amid a developed
galactic conflict, and the de-
tails become tantalizing. Who
is the Emperor? Whyis the
Imperial Senate powerless to
stop him? And when viewers
meet the lightsaber-wielding
Darth Vader, slashing his way
through the blockade runner’s
crew, the unspoiled observer
must wonder if this villain is
man or machine.
Ifa viewer enters into the
franchise with The Phantom
Menace, Darth Vader's spine-
chilling nature is meaning-
fully dwindled. What viewers
may have gained in context
surrounding Anakin’s origin
trades off for impactful
storytelling and imagery. It
becomes much harder to take
ANewHope’s villain seriously
when you first met him as the
half-pint “Ani” who has great
disdain for sand.
Although Lucas might have
initially planned to begin Star
Wars from Anakin’s point
of view, that isn’t how he
ended up telling the story.
The details that define Star
Wars come together more
effectively when they’re
discovered in release order
(Episode VI first, then V, VI,
1,11, WL VU Vill and IX). First-
time viewers benefit from the
magic that happens when the
story crystalizes.
Once you know the
characters and their history,
go ahead and rewatch it in
episode order—the way Lucas
intended. Perhaps you'll
discover a new appreciation
for the Skywalker saga.
EPISODE V
The
Empire
Strikes
Back
Arguably one of the
best sequels in
cinematic history, the
next chapter expanded
the galaxy and
dropped the father of
all plot twists.
Director: Irvin Kershner
Release date: May 21, 1980
THREE YEARS after the destruc-
tion of the Death Star, the Empire has
regrouped, with Darth Vader on the
hunt to find Luke Skywalker. Luke
meets a new mentor, Yoda, and dis-
covers more about his connection tothe
Force while Han Solo and Leia Organa
are double-crossed by Solo’s friend
Lando Calrissian (Billy Dee Williams).
Luke helps rescue them, though Solo is
captured, and—epic spoiler alert!—Luke
finds out that Vader is his father.
Original Los Angeles Times review by
Charles Champlin
What can you say about The Empire
Strikes Back that has not been said
about the Acropolis, the cotton gin,
Ella Fitzgerald’s voice and Star Wars?
12 LA TIMES STAR WARS: 45 YEARS LATER
Chewbacca, C-3PO
(Anthony Daniels), Leia
and Han aboard the
Millennium Falcon.
#e
» ee *
€
$
The pivotal moment *
when Vader revealed
the truth to Luke.
Opposite: Yoda
trainedLukeon| ©"
the swam; =
peed ki
Dagobah.
That’s extravagant, of course, but
the point is that there have been very
few sequels in history for which com-
mercial and creative success could be
so confidently predicted. The unprec-
edented attendance for Star Wars
assures a lot of business, even with slip-
page. In fact, The Empire Strikes Back
seems to mea hugely accomplished
and exciting follow-on to Star Wars—
witha slow and extended stretch in the
late going that will test the youngest
and shortest attention spans, but with
new material mixed with the familiar
to rush the story forward.
It could hardly have been other-
wise. The magic of Star Wars derived
from George Lucas and his love of
make-believe, at once childlike and
14 LA TIMES STAR WARS: 45 YEARS LATER
hugely sophisticated, and from his
myth-sized view of the absolutes of
good and evil, courage and treachery.
The extent of the popularity of Star
Wars, and its games, toys and lunch
pails, may have amazed even Lucas, but
the creative integrity of the film was in
no way accidental, and the same sure-
ness of vision gives force to The Empire
Strikes Back.
It is easier this time to sense the
Grand Design. Star Wars, as it is now
known, was Episode IV of a nine-
episode master plot that Lucas has
outlined. The Empire Strikes Back is
titled Episode V, and indeed, it feels
much more like a segment in a larger
story, with an ending that is (cleverly)
both a resolution and a cliffhanger that
leaves one of our heroes in chilling
jeopardy and Darth Vader—ah, but that
would be telling.
Sequels have costs and gains.
A certain feeling of wondrous dis-
covery is gone forever. After all, we’ve
been to the galaxy before. On the other
hand, the action can thrust forward,
freed of a lot of expository needs, and
with time to get a bit more deeply
into characters and relationships,
to embroider themes, to sketch more of
that grander design and to invigorate
the proceedings with new creatures
and characters.
The Empire Strikes Back suggests
strongly that the Lucas imagination
has hardly begun to be tested. He and
his scriptwriters, the late and excellent
Leigh Brackett and her successor,
Lawrence Kasdan, have in particular
come up with an absolute enchanter
named Yoda, a wise old party who
cannot be more than two feet high
standing on tipclaw but who coached
both Ben Kenobi and Luke Skywalker’s
father and is now trying to install some
patient good sense into impetuous
young Luke himself.
Unquestionably, the chanciest
departure of The Empire Strikes Back
is to advance the idea of a romantic
triangle, with Carrie Fisher as the
strong-willed princess sought after in
a teasing, robust way by Harrison Ford
as Han Solo but drawn to the hand-
some but reticent Luke. It is a con-
struction that did wonders for Gable,
Tracy and Loy, among other classic
screen trios, and if it is kept light and
urbane, with the emphasis on palship
and not on amorous sweats, it should
work nicely. Lucas, I presume,
doesn’t needtobereminded _---
that mushy stuff was a :
Saturday-morning turn-
offifthereever wasone. |
Episode VI, Lucas
‘
THE WIZARD OZ
Frank Ozwas the .
puppeteer and voicebehind
Yoda.Priortothisrole,he |
was best known for his work '
or Episodes VII, VII and IX, which
would carry the story forward another
20 years or so, is not clear. What is
certain is that the Lucas vision will be
a part of our world for years.
Se The Empire Strikes Back
. is rated PG, I guess for the
intensity of its excite-
ments. But it is a family
film, or the term has lost
its meaning altogether.
says, will be called \ onSesameStreetand _'
Revenge of the Jedi. It |“, | TheMuppetShow, =’ It is expansive but more
completes the middle . ae “tightly time-framed in
trilogy of his remarkable Teese
saga and will also complete the
struggle between Luke Skywalker and
Darth Vader—winner tobe announced
later. Whether we'll ever see Episodes
I, II and III, involving Luke’s father,
aoe terms of plot. I wish it were
ahandful of minutes shorter, but
this is my single caveat about another
richly imaginative, engrossing and
spectacular motion picture from the
redoubtable George Lucas. @
16 LA TIMES STAR WARS: 45 YEARS LATER
Asa prisoner of Jabba
the Hutt, Leia sported
what has become—for
better or for worse—
an iconiclook.
EPISODE VI
Return
of the
Jedi
The (first) trilogy
came to a close with
the final confrontation
between Luke and
Vader, and new
creatures both creepy
and cute.
Director: Richard Marquand
Release date: May 25, 1983
LUKE SKYWALKER Leads a mission
to rescue Han Solo from the clutches
of gangster Jabba the Hutt and faces
Darth Vader one last time. Along the
way, he learns that Leia is his sister.
Meanwhile, the Rebellion pushes
to destroy a second Death Star with
a little help from alien teddy bears
called Ewoks.
Original Los Angeles Times review by
Sheila Benson
The Jedi return to us at last, older,
wiser and, frankly, irresistible. Of all
its many qualities, Return of the Jedi is
fully satisfying—it gives honest value
to all the hopes of its believers.
With this last of the central Star
Wars cycle, there is the sense of the
closing of a circle, of leaving behind
real friends. It is accomplished with a
weight and a new maturity that seem
entirely fitting, yet the movie has lost
Clockwise from top: Luke attempted to rescue Han from Jabba the Hutt; the Ewoks
were awed by the long-suffering C-3PO, whom they mistook for a god; Nien Nunb
(Richard Bonehill) and Lando piloted the Millennium Falcon in the Battle of Endor.
none of its sense of fun; it bursts with
new inventiveness. With Jedi, George
Lucas may have pulled off the first
triple crown of motion pictures.
While we press on with the business
of Jedi knighthood and Rebel battles,
with the question of Luke Skywalker’s
parentage and with Luke’s confron-
tation of his own dark side and his
attempt to master it, director Richard
Marquand and writer Lawrence
Kasdan, who shares screenplay credit
with Lucas, see to it that the screen is
full to the gunwales with the galaxy’s
best inventions yet.
Kids, with their wriggling love of the
really gross, may have the best time with
18 LA TIMES STAR WARS: 45 YEARS LATER
Jabba the Hutt and his netherworld
attendants. Hutt, you may remember,
is the owner of a life-size wall decora-
tion that is really our dashing Han Solo,
now bronzed as a baby shoe. (OK, OK,
carbon frozen.) Our tour of the nas-
tier corners of Jabba’s world is a smart
move; it gives the film dimension. We
can see for ourselves just what the
Rebels oppose.
Adults, on the other hand, are
likely to fall heavily for the small,
furry Ewoks, who make Return of the
Jedi feel like The Teddy Bears’ Picnic.
These cuddly, tree-dwelling primi-
tives from the redwood-forested
planet of Endor have all sorts of
jobs; there are noble bowmen, a
shaman mother and babies. But their
true function is to link the Rebels to
areal (if calculatedly adorable) world
with simple beginnings, and this they
do effortlessly.
Did we lose the adults in this tour
of fantasyland? Possibly, but not Luke
and Princess Leia. Mark Hamill’s
Luke has the greatest shading and
the greatest growth of the whole crew,
as befits a heroically scaled alter ego.
The crucial matter of the relation-
ship between Luke and Darth Vader
is worked out in a manner that may
even move audiences.
Carrie Fisher’s Leia can nowat least
be looked upon as both a princess and
a sexy woman, although slave girl
drag is a pretty funny way to convey
that information. The paths opened
for Leia by the film’s newest revela-
tion are what really count, although,
unfortunately, they come a little late
in this cycle for actress Fisher.
The actors, actually, have to grab
what chances they have to flesh out
their characters. Jedi is fast, crammed
filmmaking that gives us few chances to
assess our feelings before it hurtles on
to something new and dazzling. Even
more than the previous two films, Jedi
is a technician’s tour de Force.
The overall production design, from
thenighttime coziness of Ewokvilleto
Jabba’s disgusting dungeons, was cre-
ated by Norman Reynolds. Its visual
effects range from small-scale
puzzlers, like the landing _--~"
of the Emperor’s ship ‘
on a mirrorlike surface
(without telltale wires;
in the reflection), tothe |
frankly amazing, like the
final blast of the Death
Star. They are the work
Muren and Ken Ralston, magi-
cians all.
The makeup was created by Stuart
Freeborn, and Phil Tippett designed all
ra INDESTRUCTIBLE HAN \
Han Solowasreportedly
going to facea heroic i
1 death in Jedi during araidon :
\ an|lmperial base, but George ;
Lucaschangedhismind /
(likely influenced by |”
toy profits). .-”
of Richard Edlund, Dennis ee
ey
is
berms, \ t
temp tld VIS iy . 4
the film’s extraordinary special crea-
tures, while Kit West supervised their
mechanical effects.
Alan Hume was the cinema-
tographer, Aggie Guerard
Rodgers and Nilo Rodis-
Jamero the costume
designers, and John
Williams’ music, an inte-
gral part of the romance
of the galaxy, is again to
be heard.
ant Finally, for any audience
who knows the territory, Jedi’s
redwood forests and adventurous
rebels may represent the ultimate
Marin County subliminal message. e
EPISODE I
The Phantom
Menace
The prequel trilogy presented the origin
stories of Anakin Skywalker, Obi-Wan Kenobi
and the Sith plan to overthrow democracy.
Director: George Lucas
Release date: May 19, 1999
20 LA TIMES STAR WARS: 45 YEARS LATER
ANAKIN SKYWALKER (aka the fu-
ture Darth Vader), a young slave on
Tatooine with a penchant for elec-
tronics, is discovered by Jedi Qui-
Gon Jinn and Obi-Wan Kenobi to
be an exceptionally strong wielder
of the Force. Meanwhile, the Jedi’s
evil counterparts, the Sith, have re-
surfaced and begun a behind-the-
scenes campaign to rule the galaxy.
Original Los Angeles Times review
by Kenneth Turan
Over the 20-plus years since its
release, George Lucas’ Star Wars
has influenced so many lives that
the writer-director’s friend Francis
Ford Coppola suggested, more or less
seriously, that he turn its philosophy
into an organized religion.
Whatever its virtues, and it cer-
tainly has them, Star Wars: Episode
I—The Phantom Menace is not go-
ing to change anyone’s life or meth-
od of worship. Unlike its illustrious
predecessor, this film was not able
to sneak into America’s conscious-
ness on tiny intergalactic feet. In-
stead, it had its arrival trumpeted
on the cover of just about every
magazine except the New England
Journal of Medicine.
But even without the prerelease
hoopla, The Phantom Menace would
be a considerable letdown, as Lucas
and company either misjudged or
did not care to recreate key aspects
of what made Star Wars a phe-
nomenon. While the new _--
film is certainly service- ‘
able, it’s noticeably lack-
ing in warmth and
humor, and though its
visual strengths are real
and considerable, froma
dramatic point of view, it’s
ponderousand plodding. ees
In Ewan McGregor, who
plays Obi-Wan Kenobi in his youth-
ful apprentice years, The Phantom
Menace does have an actor with the
THE TRUE MENACE
| Despitethefilm’sfocuson \
Anakin, the real “phantom
menace,” according
to Lucas, is Palpatine (lan
‘\. McDiarmid), a Sith lord
*, masqueradingasa_ ,’
politician. 4
eet Lucas wasn’t partial to
Far left: Jake Lloyd
played 9-year-old
Anakin Skywalker,
whose gifts included
a knack for podracing.
McGregor and Neeson
(above) joined forces
with Natalie Portman
(left) as Queen Amidala
of the planet Naboo.
zest and twinkle this film desperate-
ly needs. But McGregor’s lively light
is hidden under a basket and the film
unhesitatingly given over to
~-.. the glum philosophizing of
; Liam Neeson’s Jedi mas-
ter Qui-Gon Jinn.
The Phantom Men-
ace is certainly ad-
equate. It’s just that the
tale it tells isn’t all that
interesting, in fact, if
1
'
1
'
1
the idea of trilogies, Phantom
could have been condensed down toa
brief prologue tacked onto the begin-
ning of the next installment. e
21
EPISODE IT
Attack of the
Clones
Anakin’s Jedi training got sidetracked by
forbidden love, and the threat of war grew
as the Sith continued to gain power.
Director: George Lucas
Release date: May 16, 2002
22 LATIMES STAR WARS: 45 YEARS LATER
PADAWAN ANAKIN Skywalker, now
grown up, must choose between his
Jedi duty and the love of Senator
Padmé Amidala. Across the galaxy,
Obi-Wan Kenobi uncovers a sinister
plot to create an army of clones to be
used in a war against the Republic.
Original Los Angeles Times review by
Kenneth Turan
We'll never see another Star Wars,
no matter how much we want to. And
we want to very much. But like the
cherished passions of first love, the
fervor called forth by the landmark film
is never coming back, and no amount of
prequels or sequels is going to change
that. Paradoxically, the fact that the
latest prequel, Star Wars: Episode II—
Attack of the Clones, is a bit better than
its predecessor makes it clear how
lacking in the things that matter these
newcomers are.
Given its huffy 9-year-old protag-
onist and off-putting characters like
Jar Jar Binks, The Phantom Menace
was anything but a tough act to follow.
Picking up the adventures of Anakin
Skywalker 10 years later, Clones has
more menace and less Jar Jar, better
battles and an impressive parade of eye-
catching splendors. But like the Tin
Man, The Wizard of Oz’s C-3PO prede-
cessor, it doesn’t have much of a heart.
Writer-director George Lucas’ gift for
animating the inanimate turns out to
be paralleled by a tendency to deaden
what should be completely alive.
It is the pictorial element of
Clones that makes the biggest impact.
Production designer Gavin aces
Bocquet, aided by four
visual-effects super-
:
,
Agroup of Jedi—
including Mace Windu
(center)—faced the
Separatists’ army of droids
onthe planet Geonosis.
Judging by his performance here
(perhaps nota wise thing to do), young
Canadian actor Hayden Christensen
was picked for Anakin strictly on his
ees ability to radiate sullen teen
+. rebellion, something he
does a lot.
visors, three concept / La raed Everything inevi-
° . i ile mostJedi M : : if
design supervisors, an / —jightsaberbladesare tably endsina climactic
animation director and \ blueorgreen,MaceWindu's } battle. Impressive
\. wasamethystbecause
a previsualization and
effects co-supervisor
(no, I don’t know what that
is either), has created some
truly involving alternative uni-
verses, and costume designer Trisha
Biggar has figured out what should be
worn in each of them.
N
s, actor Samuel L.Jackson
requested it.
though the computer
work is, it soon descends
_~” into video-game overkill.
Only a teenage boy could
find this kind of stuff continu-
ally diverting, and only a teenage boy
would not notice flimsy emotions and
underdeveloped acting. e
/
23
Revenge
of the Sith
At last, the story behind the
downfall of Anakin
Skywalker and the rise of
Darth Vader was revealed.
Director: George Lucas
Release date: May 19, 2005
24 LATIMES STAR WARS 5
FACED WITH haunting premonitions
that his secret wife, Padmé Amidala,
is going to die, Anakin Skywalker
is seduced by the dark side, turning
against his master Obi-Wan and
helping to topple the Jedi before finally
becoming Darth Vader.
Original Los Angeles Times review by
Kenneth Turan
Never but never underestimate the
power of the dark side of the Force.
It has made Episode III—Revenge of
the Sith into easily the best of the trio
of Star Wars prequels and has even
attempted the tougher assignment of
saving writer-director George Lucas
from himself.
Because it contains the creation
myth of one of the most durably popular
films of our time, and because seeing a
potential hero torn between good and
evil before succumbing to iniquity is
always involving, Revenge of the Sith is
the most energetic of the prequels, the
only one atall worth watching. But that
doesn’t mean it is without the weak-
nesses that scuttled its pair of prede-
cessors. Quite the contrary.
Revenge begins with one of its areas
of strength, combat on screen. An elab-
orate multipart action sequence lasts
for close to half an hour and shows that
the droids at Industrial Light & Magic
have made excellent use of the film’s
more than 2,200 visual-effects shots.
Given how strong Revenge’s purely
visual elementis, we leave it with reluc-
tance when the film turns to dialogue
to explain a plot that involves not only
the Republic’s war with the Sith but a
power struggle between the Chancellor
and the Jedi Council.
That reluctance does nothing but
intensify, because, as veterans of the
last two films can attest, whatever gift
Lucas had for dialogue has deserted
him. The language in Revenge is banal
and stilted, with sentiments of the
25
“Let’s get a move on, we have a battle
to win here” variety predominating.
Given that one of Lucas’ original inspi-
rations was Saturday-afternoon serials
(hence his insistence on numbering
all six parts), it makes one wonder if
the language is intentionally bad, the
better to echo the spirit of those long-
gone matinees of the golden past.
Lucas’ weakness with words is
matched by amarked lack of facility for
working with actors, especially where
emotional scenes are concerned. That
limitation tends to flatten out every-
one’s performance (has Samuel L.
Jackson ever been this bland, Ewan
McGregor this uncharismatic?), but it
completely cripples the work of poor
Natalie Portman as Anakin’s pregnant
26 LATIMES STAR WARS: 45 YEARS LATER
but still hairdo-challenged wife, Padmé.
George Lucas does not seem to care.
He owns the Star Wars concept out-
right and clearly feels that this is his
world to do with as he pleases. If
he wants to putinlinesthat —__--
sound as if they reflect”
as much on the current ra
the one in the future—
as when Padmé listens‘
totheSenatecheerand \
says, “This is how lib- —.
erty dies, with thunderous Wis
applause”—he does. Lucas
must feel he’s earned the right to
be this way, and from one point of
view, he has.
Although the Star Wars universe
HELPINGHAND =,
re) c G ' GeorgeLucasrecruitedhis +
pol itical situation as good friend Steven Spielberg
to help direct some sequences
in Revenge of the Sith, i
‘ including the climactic -
», duelbetweenAnakin
and Obi-Wan. e
wouldn't exist if Lucas hadn’t fought
for it and taken it more seriously than
anyone else, he seems to be taking it so
seriously today that the raffish energy
and wised-up sense of humor
~s.. that marked the very first
“. Star Wars is completely
gone from the scene.
Though the return
' of Darth Vader pro-
' vides Revenge of the
/ Sith with a classic film
moment that lives up to
_-- expectations, the people
we'd really like to see make a
comeback are Mark Hamill, Carrie
Fisher and, most of all, Harrison Ford.
Itis not to be, of course, but that only
makes us miss them even more. @
\
Above: The Invisible
Hand battleship was
taken down by the Jedi,
thwarting a Separatist
plot to kidnap the
Supreme Chancellor.
Left: Anakin completed
his transformation
from Jedi to Sith.
27
EPISODE VII
The
Force
Awakens
The sequel trilogy
began with a mix of
franchise veterans and
plucky first-timers.
Director: J.J. Abrams
Release date: December 18, 2015
THIRTY YEARS after the defeat of the
Empire, Luke Skywalker has vanished,
and a new threat has risen: the First
Order, led by the mysterious Supreme
Leader Snoke (Andy Serkis) and his
dark side apprentice, Kylo Ren (Adam
Driver), aka Ben Solo, the son of Leia
Organa and Han Solo. The onetime
princess, now General Organa, leads
the militaristic Resistance, the galaxy’s
only hope for thwarting the new evil.
The mysterious scavenger Rey (Daisy
Ridley) joins their ranks and soon dis-
covers her ties to the Force.
Original Los Angeles Times review by
Kenneth Turan
Can the eager first-day viewers of
The Force Awakens trailer, who saw it
112 million times online, be all wrong?
What about the true believers who pur-
chased $50 million and counting worth
of advance tickets—can they be mis-
taken about this film too? No, they’re
not, but they can be only half right,
which is what they turn out to be.
Perhaps inevitably, this, the most
28 LATIMES STAR WARS: 45 YEARS LATER
Rey and ex-stormtrooper
inn (John Boyega)had
bare! et when they
yere on the runfrom the
on u.
a
Top: The Millennium Falcon (piloted by Rey) evaded the First Order on Jakku. Above, left: The menacing Kylo Ren was torn
between the love of his parents (Leia and Han, right) and the pull of the dark side of the Force.
hotly anticipated motion picture since
Gone with the Wind, has an erratic, hap-
hazard quality to it.
Director J.J. Abrams and fellow
screenwriters Lawrence Kasdan and
Michael Arndt have come up with
some potent new characters and out-
standing moments. When all goes as
partisans hoped it would, you’re glad
you're in the room... But The Force
Awakens is also burdened by casting
miscalculations and scenes that are flat
and ineffective. Sometimes the Force is
with this film, sometimes it decidedly
is not. That hit-and-miss quality was
likely unavoidable, given that Abrams
30 LA TIMES STAR WARS: 45 YEARS LATER
and elevates everyone’s game, the pick-
ings are slim.
Ford has been here before, and it
shows. His “It’s all true” speech,
featured in the trailer, is a
highlight, and his scene
kind of offering Jakku
and company needed to please dif-
ferent masters and satisfy diverse
audiences in this story of a search for
mysteriously missing Luke
Skywalker.
At its best, The Force
: ¥ GAMEON! ,
Awakens basks in the | Theholochessconsolein
presenceofanaltogether { theMillenniumFalconthat ; scavenger Rey (Ridley,
splendid Harrison Ford, Finnaccidentallyturnson =: the brightest of the
: aad \ resumesthesamegame | ea cd
who, unlike original \, thatchewbaccaandR2-D2 ,’_ film’s new cast mem-
costars Carrie Fisher and were playing inA bers) a job is the film’s
Mark Hamill, has a full-
fledged, rip-roaring leading
role rather than a cameo. Until
he checks in midway through the film,
appropriately craggy and battle weary,
. New nope: a intergenerational high
aul spot. Too bad all of The Force
Awakens can’t be that way, but
even in galaxies far, far away, things
don’t always go as planned. e
THE MUSIC
In Harmony with the Force
Oscar-winning composer John Williams created (and continually
updated) the triumphant score for the Skywalker saga.
BY TIM GREIVING
Star Wars without John
Williams would be like the
Skywalker family without
the Force: missing much of
its power. Williams has given
the sci-fi series its musical
lifeblood from its introduction
with Star Wars in 1977 through
The Rise of Skywalker in 2019.
He has composed a space
opera on a Wagnerian scale—
densely packed with iconic
character themes and grand
dramaturgy.
“I’m just lucky,” he told the
Times in 2015, when The Force
Awakens was released. “As
far as | know, that’s a unique
opportunity. It would be like
writing an operaand then
writing six more based on the
same kind of material and the
same story... over the course of
40 years.” The Star Wars main
title theme is one of many no-
table cinematic compositions
by Williams, along with iconic
music from Jaws, Superman,
E.T. the Extra-Terrestrial and the
Jurassic Park and Harry Potter
franchises.
It’s no surprise that, after
agreeing to direct The Force
Awakens, J.J. Abrams asked
Williams to have dinner
with him. Would the com-
poser want to come back for
another round? “I didn’t have
any reservations about it at
all,” Williams said. “I thought
it would be great fun.”
The winner of five Academy
Awards (and 52 nominations),
including one for scoring the
original Star Wars, said he
was enthused by Abrams’
youthful energy and Lawrence
The Times's 1977 review of Star Wars praised “a score of unstinting dimension, soaring string
sections and thundering basses and brilliant horns, which, performed by the London Symphony
Orchestra for the superlative sound system, lifts you out of your seat.”
Kasdan’s light, witty script.
“Working with J.J. was cer-
tainly invigorating,” he said.
“| felt that he had made [the
film] consistently and organi-
cally related to George Lucas’
incredibly original vision.... My
task and my challenge was to
make it feel friendly and inter-
related to the other scores, so
that it feels comfortably Star
Wars-ian, if you can use that
word, and at the same time
be new and original to this
particular piece.” He did this
by maintaining the same basic
vocabulary established in the
previous films—a Romantic
symphonic language deliber-
ately used, initially, to root
the far-flung epic firmly in
the familiar.
The presence of a Williams
score isa boon to Abrams’
strategic marriage of old and
new. But what has Star Wars
given back to the serious,
Juilliard-trained composer,
when even the “serious”
gala tribute to him by the Los
Angeles Philharmonic in 2014
was interrupted by march-
ing stormtroopers? “I’ve
always felt really lucky to be
associated with this piece,”
Williams said. “I can only say
that I’m enormously grateful
that people have embraced
this music, and it’s brought
them to orchestral music in
the way that it has for many
younger people. | don’t make
a particular distinction be-
tween ‘high art’ and ‘lowart.’
Music is there for everybody.
It’s a river we can all put our
cups into and drink it, and be
sustained by it.”
31
EPISODE VIII
The Last Jedi
Luke Skywalker returned (reluctantly) to
train Rey in the ways of the Force and face
off against his conflicted nephew, Kylo Ren.
Director: Rian Johnson
Release date: December 15, 2017
32 LA TIMES STAR WARS: 45 YEARS LATER
THE FIRST ORDER’S Supreme Lead-
er, Snoke, the latest Sith lord, looks
to crush what’s left of the Resis-
tance. But hope survives: Rey con-
vinces Luke Skywalker to come out
of exile and help save her allies. In
his final act, Luke holds off Kylo Ren
long enough for Leia and her deplet-
ed team to escape.
Original Los Angeles Times review
by Justin Chang
The Last Jedi begins with a typi-
cally noisy and dazzling space battle.
Even amid the ensuing laser-light
spectacular, director Rian John-
son quickly gives the proceedings a
human pulse, sending dashing pilot
Poe Dameron (Oscar Isaac) into the
fray and integrating a high-stakes
suspense sequence that sets a crucial
subplot in motion.
Poe’s impulsive streak brings him
into conflict with the wise General
Leia Organa (in a gratifyingly sub-
stantial role that Carrie Fisher fin-
ished shooting before her death) and
her formidable deputy, Vice Admiral
Amilyn Holdo (Laura Dern, a fierce,
purple-haired enigma). Due to some
ingenious innovations in light-
speed technology, the Resistance
fleet can no longer outrun the First
Order. So it falls to the reformed ex-
stormtrooper Finn and a ship main-
tenance worker, Rose Tico (Kelly
Marie Tran, an excellent newcomer),
to embark on a dangerous mis-
sion to turn the tide. ah
The most compelling
of the movie’s three
interwoven plotlines
is the one that picks
up where The Force \
Awakens left off, with
Rey, possible heir tothe
long-dormant Jedi man- ~>>-.
tle, coming face-to-face with
the elusive Luke Skywalker. Luke,
haunted by personal demons, has no
intention of coming out of hiding,
PHASMA LIVES
| Captain Phasma appeared to ‘,
! perishin The Force Awakens,
‘ buta Marvel Comics miniseries
revealed how she escaped
\. Starkiller Baseand covered / :
_ upherralinits actor. In The Last Jedi,
destruction. .” his unexpected gravitas,
Far left: Finn battled
his nemesis, the
First Order’s Captain
Phasma (Gwendoline
Christie). Above: Rey
began her Jedi training
with Luke (left) on the
remote planet Ahch-To.
and his stubbornness establishes an
immediately engaging dynamic be-
tween the eager young upstart and
her reluctant mentor.
oan Mark Hamill’s career may
\ never have fully escaped
‘Luke's long shadow, but
somewhere along the
way he morphed into a
pretty terrific character
_-- offset by a faint twinkle of
humor, acts as a kind of vet-
eran’s seal of approval, setting the
tone for fine performances across
the board.e
33
EPISODE Ix
The Rise of
Skywalker
The saga’s final chapter featured a
returning villain, a heartbreaking
death and the Jedi’s final hope.
Director: J.J. Abrams
Release date: December 20, 2019
34 LA TIMES STAR WARS: 45 YEARS LATER
Finn, Rey, C-3PO
and Poe searched
for a way to find the
planet Exegol, home
to Palpatine’s Sith
stronghold.
PALPATINE IS ALIVE! The former
Emperor (Ian McDiarmid) is ready
to give Kylo Ren ultimate power
in a new Empire, upgrading the
First Order to the Final Order. But
that’s not the only surprise related
to Palpatine: Rey learns that she is
his granddaughter. Meanwhile, Leia
reaches out to her son, Ren, through
the Force, and while it helps con-
vince him to work with Rey to defeat
Palpatine, the energy she uses costs
the general her life. After Palpatine is
defeated and his forces are destroyed,
Rey takes the surname Skywalker to
continue the legacy of Luke and Leia.
Original Los Angeles Times review
by Justin Chang
“The dead speak!” Those three
words, crawling up the screen in
familiar yellow letters, are the first
thing we see in The Rise of Skywalker,
the frenzied big-bang finish of the
latest and likely not last Star Wars
trilogy. There are ominous signs that
Emperor Palpatine, the vile Sith lord
vanquished at the end of 1983's Return
of the Jedi, may be staging a comeback
from beyond the grave. But if the
dead can speak, they can also give
us cause for tentative optimism and
maybe, yes, a new hope: With any
luck, perhaps the deep, transporting
pleasure of vintage Star Wars might
somehow be resurrected.
It’s a promise that director J.J.
Abrams, who wrote the script with
Chris Terrio, desperately tries to ful-
fill with every weapon in his crowd-
pleasing arsenal. Beloved characters
laid to rest in earlier installments
return as phantom projections. In
the movie’s most poignant trick, the
late Carrie Fisher gives her final
performance as Leia Organa, one of
the foundational figures of a saga
that launched to paradigm-shatter-
ing popularity 42 years ago.
Abrams originally filmed Fish-
er’s scenes for The Force Awakens,
which established this trilogy’s cen-
tral conflict between the evil First
Order and the scrappy, heroic Resis-
tance. That movie also introduced
three appealing leads—Rey, a desert
scavenger with Jedi potential; Finn,
an ex-stormtrooper who joined
the Resistance; and Poe Dameron,
a dashing Resistance pilot—and
threw them into a familiar rebel nar-
rative that consciously if not always
imaginatively evoked the 1977
Star Wars. ae
The Force Awakens ,
made a nice warm-up
for Rian Johnson's The}
Last Jedi, which dis-
tinguished itself as the
most thrilling and au-
dacious new Star Wars
picture since The Empire eee
Strikes Back, if also, tell-
ingly, the most divisive. What some
of us regarded as clear storytelling
virtues—a tough-minded view of
36 LA TIMES STAR WARS: 45 YEARS LATER
JEDICALLTOARMS-*,
Thedisembodied voices
| rallying Rey for hershowdown |
i with Palpatine include '
\ Anakin Skywalker, Obi-Wan
\ Kenobi,MaceWindu,
‘. Qui-GonJinn, Yodaand
MN Luke Skywalker. er
Rey and her crew track the Sith wayfinder (a kind of mystical compass) to a moon of
Endor, where she has a game-changing duel with Kylo Ren on the destroyed Death Star.
heroism; a fresh, irreverent approach
to an overworked fantasy mythology;
probably the greatest performance
: of Mark Hamill’s career—were
“>... rejected as heresy by a
noisy faction of the Star
Wars faithful.
: I suspect that more
| than a few fans who
/ were incensed by The
Last Jedi and its re-
fusal to pander to their
aoe” every expectation will be
grateful to see Abrams re-en-
sconced in the director’s chair. Even
if you simply watch the movie and
ignore some of the controversy-stir-
ring prerelease chatter, The Rise of
Skywalker nakedly offers itself up in
the spirit of a Last Jedi corrective, a
return to storytelling basics, a nearly
two-and-a-half-hour compendium
of everything that made you fall in
love with Star Wars in the first place.
The more accurate way to de-
scribe it, I think, is as an epic failure
of nerve. This Rise feels more like a
retreat, a return to a zone of emo-
tional and thematic safety from a
filmmaker with a gift for packaging
nostalgia as subversion. Still, let’s
acknowledge Abrams for the pro-
ficient craftsman and genre-savvy
showman he is. @
POSTMORTEM
Who Lived and Who Died
The status update as of Episode IX’s closing credits.
The 40-plus-year Skywalker saga came to a close in 2019
with the release of Episode IX—The Rise of Skywalker, the final
installment in the sequel trilogy. The film focused on Rey and
her journey as the next great Force-sensitive hero. Ultimately,
she became the newest Jedi and adopted the Skywalker
surname—after teaming up with nemesis Kylo Ren (Adam
Driver), born Ben Solo, the last remaining member of the
Skywalker bloodline—in the film’s final act.
Star Wars movies tend to havea high (non-bloody) body
count, as they revolve around an intergalactic space war, but
most of the casualties are characters whose names you may
not remember. Here’s a quick roll call of who died and survived
as we await any potential future adventures of the Skywalker
variety. But remember: “No one’s ever really gone.”
Rey: Alive—with a new last
name she picked for herself.
Babu Frik: Alive to kill us with
his cuteness.
Kylo Ren/Ben Solo: Dead Snap Wexley: Dead (even
after ditching the dark side to though Greg Grunberg
help Rey. is one of J.J. Abrams’s lifelong
Finn: Alive. friends).
Poe Dameron: Alive.
Leia Organa: Dead, but what
she stood for lives on.
Luke Skywalker: Was already
dead (since The Last Jedi);
stayed dead, but available for
Force-ghost pep talks.
Han Solo: Dead (since
The Force Awakens).
Rose Tico: Alive.
Jannah: Alive and ready fora
spinoff.
Zorii Bliss: Surprise! She
survived the destruction of
Beaumont Kin: Yes, Dominic
Monaghan’s character hada
name. And he’salive.
Allegiant Gen. Pryde: Ex-
ploded (dead).
Boolio: Beheaded (probably
dead).
Rey’s parents: Mystery
solved, but still dead.
Knights of Ren: Killed by Ben.
Millennium Falcon: Alive, and
still the fastest hunk of junk in
the galaxy.
Luke’s lightsaber: Laid to
Kijimi. rest, but probably more hiber- BEsSaquee
Palpatine: Dead—hopefully nating than dead.
for good this time. Porgs: Alive.
General Hux: Died as he Ewoks: Alive.
lived—hating Kylo Ren.
Lando Calrissian: Alive.
Chewbacca: Alive.
C-3P0: Alive, with most of his
memories intact.
Inhabitants of the planet
Kijimi: Most likely dead.
Numerous unnamed Resis-
tance fighters: All dead.
Countless trooperson
R2-D2: Alive. all Final Order Destroyers:
BB-8: Alive. Alldead.
D-0: Alive. The Skywalker Saga:
Maz Kanata: Alive.
Lt. Connix: Alive.
Concluded (for now).
The Force: With us always.
37
Cassian, Jyn and K-2SO’s
mission to steal the
Death Star schematics
climaxed on the tropical
planet Scarif, guardéd by
stormtroopers (opposite).
A STAR WARS STORY
Rogue One
An unlikely team of rebels assembled for a
clandestine mission that led directly into
the events of the original Star Wars.
Director: Gareth Edwards
Release date: December 16, 2016
38 LA TIMES STAR WARS: 45 YEARS LATER
SET IMMEDIATELY before the events
of A New Hope, this stand-alone adven-
ture reveals how the Rebellion man-
aged to acquire the plans to the Death
Star, allowing Luke Skywalker and
company to blow it up.
Original Los Angeles Times review by
Justin Chang
Even as it introduces a host of
appealing new characters, the story
told in Rogue One could hardly be more
bracingly familiar: A scrappy, deter-
mined band of Rebel Alliance fighters
comes together to embark on a Darth-
defying wartime mission. Director
Gareth Edwards, working from a script
by Chris Weitz and Tony Gilroy, serves
up several dynamic action sequences,
some pretty good jokes and a few
moments that immediately ascend to
classic status.
Leading the mission this time is Jyn
Erso (Felicity Jones), a defiant young
warrior whom we first encounter as
a young girl being cruelly separated
from her parents. After her scientist
father, Galen Erso (Mads Mikkelsen),
is taken prisoner by the ambitious
Imperial leader Orson Krennic
(Ben Mendelsohn), Jyn spends the
next few years being raised and trained
by Rebel extremist Saw Gerrera
(Forest Whitaker).
Hoping to reunite with her father
and unravel the dastardly scheme in
which he has been forcibly enlisted,
Jyn finds a reluctant ally in Cassian
Andor (Diego Luna), an Alliance intel-
ligence officer whose calculating streak
makes hima credibly amoral hero. The
team’s secret weapon, distinguished by
his intense devotion to the ways
of the Force, isChirrutimwe _----
(Donnie Yen), a blind war- :
rior seemingly mod-
eled on the legendary
Japanese swordsman
Zatoichi.
Also along for the
ride, zipping between
desert moons and far-flung MBs
galactic outposts, are Chirrut’s
faithful comrade Baze Malbus (Jiang
Wen) and Bodhi Rook (Riz Ahmed),
an emotionally scarred cargo pilot with
his own mysterious role to play. But the
PILOTPROGRAM ,
' Fortheclimactic battle, \
| filmmakers incorporated
1 unused footage of Rebellion
1 X-wing pilots from A New
Hopetostrengthenthe
connection to the i
original story.
requisite scene stealer is K-2SO, a tall,
spindly-limbed droid who is hilari-
ously voiced by Alan Tudyk.
A sense of dramatic convergence
materializes during the pulse-
+. quickening endgame, which
: offers the curious satis-
faction of turning an
unfinished story into a
resonant pop-cultural
moment. As the puzzle
pieces snap into place,
with a level of precision
pe and economy that honors
and even transcends the narra-
tive foundation of A New Hope, Rogue
One at last finds its own reason for
being. For one thrilling final stretch,
everything old really is new again. e
1
1
'
'
1
1
1
39
A STAR WARS STORY
Solo
The charming young pilot darted through
the galaxy’s unseemly underworld, making
friends and enemies along the way.
Director: Ron Howard
Release date: May 10, 2018
LONG BEFORE crossing paths with
Luke Skywalker and Princess Leia,
Han Solo was already well on his
way to becoming the scoundrel and
smuggler we know and love. This or-
igin story/adventure reveals his fate-
ful first meetings with Chewbacca
and Lando Calrissian.
Original Los Angeles Times review
by Justin Chang
We first meet Han Solo (Alden Eh-
renreich)—in this prequel to the orig-
inal Star Wars trilogy—on his
ugly home planet of Corel- -”” : 763)
lia, where he is one of
several orphans slaving
away for Lady Proxima |
(picture Oliver Twist’s ;
Fagin crossed with that ‘,
spaghetti growing mold
in your refrigerator). Han
and his girlfriend, Qi’ra
(Emilia Clarke), are plotting their
escape, but circumstances conspire to
separate them. Three years later, Han,
a skilled pilot stuck in a far-flung war
zone, hasn’t given up his dream of
buying his own spaceship and reunit-
ing with Qi’ra.
Before long he joins forces with
two wily, cynical mercenaries, To-
bias Beckett (Woody Harrelson) and
Val (Thandie Newton), whose rela-
tionship with their employer, the
ruthless gangster Dryden Vos (Paul
40 LA TIMES STAR WARS: 45 YEARS LATER
FAMILY AFFAIR \
Ron Howard isn’t the only \
member ofhisfamilytohelm |
aStar Wars project: Daughter ;
Bryce Dallas Howard has
directed episodes of The
‘.. Mandalorian and The
Ee Book of BobaFett. a“
Bettany), foreshadows Han’s future
tussles with Jabba the Hutt. His tal-
ent for smooth-talking persistence
already fully developed, Han suc-
ceeds in joining their mission.
To their credit, the writers have
contrived a few clever twists and
reversals as they steer Han to wher-
ever he will spend his time waiting for
the events of A New Hope.
There are, of course, some nec-
essary boxes to check off, including
a rookie-Wookiee meet-cute with
-... _ Chewbacca (Joonas Suotamo),
who at first seems more
apt to eat Han for break-
fast than to become his
closest comrade and
co-pilot on the Millen-
/ nium Falcon. Speak-
ing of which, fans will
look forward to the fate-
ful Sabacc game (or two)
between Han and his new friend
Lando Calrissian (Donald Glover).
Even these obligatory beats,
however, scarcely register amid
the movie’s hectic swirl of slop-
pily cut-together action, as well
as a pervasively gritty, downbeat
atmosphere. What meager charms
remain can be credited mainly to
the actors, including Clarke, in-
triguingly reticent as a love in-
terest and possible femme fatale.
The intensely charismatic Glover
leaves you with every assurance
that he will someday age into Billy
Dee Williams.
The resemblance between Ehren-
reich and Harrison Ford is more elu-
sive, but also less important than you
might suspect. This Han Solo may
not scan as an exact younger replica
of the character who has taken root
in collective pop-cultural imagina-
tion, but there’s more to good acting
than fitting a physical type.
Ehrenreich isn’t given much to
work with here, but his sly comic re-
serve and devil-may-care attitude
give you reasons to keep watching
well after the story has stopped doing
anything of the sort.e
Above: Han and
Chewbacca guided
the Millennium Falcon
through the famed
Kessel Run smuggling
route. Left: Han later
won the ship from
Lando ina high-
stakes card game.
42
~ ranks 20th on theall-time
- Anthony Daniels (C-3P0) on
- location in Tunisia in 1976.
The original Star Wars still
domestic box office list.
Here, Lucas worked with
en
‘i
LA TIMES STAR WARS: 45 YEARS LATER
FROM THE ARCHIVES
Ready
for His
Close-up
In a candid 1977
interview, George
Lucas discussed the
making of Star Wars.
BY PAUL ROSENFIELD
BEFORE THE FIRST-EVER Star Wars
premiered on screens across America,
Los Angeles Times writer Paul
Rosenfield sat down with the creator of
agalaxy far, far away. Then 33, George
Lucas, just a few days before the release of
his “space opera,” prophetically claimed
that Star Wars was the movie “Disney
would have made when Walt Disney
was alive.” Who knew that decades later,
the droids and the mouse would reside in
the same castle? This story was originally
published on June 5, 1977.
George Lucas was talking reel-to-
reel. It had been a hard day’s night of
sound mixing at Goldwyn Studios.
Five days before the opening of Star
Wars and—gadzooks!—there was
not yet an answer print. The writer-
director-wizard was sharing the facil-
ities with another hyphenate, Martin
Scorsese. Both facing oncoming
release dates, the men were responsible
for a cumulative $21 million in product.
Lucas had the night shift—8 p.m. to
8 a.m. By day, he was in a Hollywood
lab. Marcia Lucas, editor of both films
and George’s wife, remained calm.
43
“Can we meet for breakfast?” she asked
her husband.
For George Lucas, the hype was
about to happen. In the works was a
Time magazine cover story, an incal-
culable profit and prestige boost for
~ any film. Lucas would have been the
first of the new tribe of directors to be
so singled out. The Israeli election of
Menachem Begin forced a last-minute
switch in the magazine’s front-page
plans. Lucas expressed no chagrin.
The quiet craftsman apparently
isn’t much into print media. He claims
neither to read nor admire critics. “And
mostly I don’t do interviews,” he said
early on what would be a late night.
Though cordial, during the film’s
early promo-push, Lucas saw only
three publications: the Times—L.A.
and N-Y.—and Time. And possibly the
last only because Star Wars publicists
smelled a cover.
In person, he’s no self-promoter:
Robert Altman in reverse. His horn at
least doesn’t blow at midnight. “I never
bank on anything. I think this movie
will break even.”
And then some. Box-office records
in the first release week were set in
43—out of 43—theaters, according to
Fox VP Ashley Boone. The seven-day
gross: $2.89 million. By June1, company
stock rose from 11%, the previous week’s
high, to 18.
Hourly figures were phoned in
from Manhattan. In San Francisco, box
lunches were sold to queued crowds.
In Westwood, a section of Wilshire
was littered with falafel wrappers—
and lined with ticket holders. The all-
time Hollywood Boulevard record set
by The Godfather was broken. And
George Lucas was in Hawaii. “The ball
is back in the studio’s court,’ said the
bearded, slightly built filmmaker about
his six-year project. (The movie is only
Lucas’ third feature: American Graffiti
followed THX-1138.) “I’ve given this my
best shot. We're off to the sun.”
LUKE SKYWALKER, the Lucas-like
hero in Star Wars, left more than his
uncle’s moisture farm on the arid
planet of Tatooine. He’s also headed
44 LATIMES STAR WARS: 45 YEARS LATER
for America’s merchandise marts.
“In away, this film was designed around
toys,” Lucas said, lighting up at the
subject. He may look like a brooding
scientist, but the man is boyish on one
subject at least. “I actually make toys.
I’m not making much for directing this
movie. If | make money, it will be from
the toys.”
Etcetera. Upcoming are Marvel
comic books, inflatable laser swords,
miniature ape-like Wookiees, T-shirts,
a gilded C-3PO (the movie’s homage to
the Tin Man), computer games, posters,
a mock-up Imperial Death Star space-
ship, and Obi-Wan, perhaps the first-
ever senior-citizen doll. The goodies
are due at counters this summer. “I
S
ran
“Ina way, this film
was designed around
toys. lactually
make toys. I’m not
making much for
directing this movie.
If l make money,
it will be from
the toys.”
don’t consider it cashing in, but I have
invested in a toy company operation.
Also, we'll be involved with the largest
toy company in the world. This could
be very large.
“I think of this as a movie Disney
would have made when Walt Disney
was alive.” Chatting while watching
rushes, Lucas felt the need to explain
his project. “I call it ‘space opera.’
That’s a genre that’s been around a
long time, in the books of Burroughs
and Heinlein, but never really done
on film.... What I attempted was science
fiction without the science. I wanted an
engaging Saturday matinee movie, but
not camp or parody. And not a heavy
intellectual trip like 2001. Think of this
as The Sting in outer space.”
Lucas had been urged after Graffiti
~ Growing up, Lucas (here
in Modesto, California, in
1968) was influenced by
Arthur Conan Doyleand the
Flash Gordon TV series.
to tackle something deep. Instead, he
went for what he wanted: pure enter-
tainment. “THX was my 20-year-old
consciousness; I used my head as a
filmmaker. Graffiti was me at 16 using
my heart. This movie was using my
hands, at 12.... 1 wanted a contempo-
rary version of the myth and the fairy
tale. Storytelling has always been about
the faraway. The Victorian era had the
4
; . vi
u% A/D)
exotic East. In early America, there
was the lure of the West. It was savage.
Until about 20 years ago, we believed
we could go to Treasure Island.
“There’s a whole generation today
with a great need for fantasy. The
Lone Ranger and Long John Silver.
Star Wars is hopefully a feeble attempt
to make up for that lack, without
goriness or violence.
“It’s a hard genre to pull off.
Enchanted forests are over-the-hill.
Also, I wanted to show the impor-
tance of friendship. Two males who
don’t hate each other, who don’t go off
blowing up stadiums.”
A Super Bowl heist would surely
have been easier than the Lucas
undertaking. “I was very broke after
Graffiti?’ the director said when asked
about the genesis of Star Wars. “I'd
spent four and a half years trying to
get Apocalypse Now off the ground. At
that time, nobody would do that movie,
and nobody wanted to do this movie.”
A 12-page outline of Star Wars was
turned down by both United Artists
and Universal.
“Finally, Fox offered a little devel-
opment money, very little,” Lucas said.
45
;
While working on the 1968
film Finian’s Rainbow, Lucas
became friends with the
director, Coppola. Here,
they collaborated on Lucas’
feature-film debut, 1971's
THX-1138. Opposite: Lucas
directed young Ron Howard
in 1973’s American Graffiti.
“Our original budget was $18 million,
which we scaled down to $14 million.
Then we got it down to a bare $8.5 mil-
lion. The studio said $7.5, and we said,
‘We'll do it’ Gary Kurtz [Lucas’ pro-
ducing partner] and I figured somehow
we'd get the extra money.”
As budgets go, this one went even-
tually to $9.5 million—a bargain among
this summer’s releases. “We're the
rock-bottom,” claimed Lucas. “The
Deep is $14 million. A Bridge Too Far
is $22 million. And Francis [Coppola],
who finally did Apocalypse Now [of
which Lucas is part owner], will come
in at $25 million.”
46 LA TIMES STAR WARS: 45 VEARS LATER
LAST WEEK, Fox president Alan Ladd
Jr. overseer of Star Wars, recalled his
struggles in getting the studio go-
ahead: “How do you doa synopsis of
this movie for a board of directors?
Imagine saying, ‘There is a Wookiee
named Chewbacca, and...” The com-
pany was going through a bad period
anyway. [Fox Chairman] Dennis
Stanfill decided to go with it, and then
fortunately didn’t ask a lot of questions.
“For four years George and I have
been talking—though heand I together
don’t make one-half an extrovert—and
only a week before release did I see the
film. The humanity is what makes it.
All I can say is that the man got a per-
formance out of a robot.”
Somehow. “There is no magic in
moviemaking,” said the director who
masterminded 363 special effects. He’s
admittedly now weary. “What’s there
has to be there.” Unlike many of the
film generation among whom he is
the current wunderkind, Lucas isn’t
overzealous about moviemaking. “I
see the whole process as war: money
and energy and hurt feelings. Say some
poor clown has to fall out of a 10-story
building. What if he dies?”
Summed up ace editor and
Universal vice president Verna
Fields, “George is a sufferer.”
“T consider this my professional
movie debut,” Lucas said, without
pomp. Star Wars took 18 months
of shooting in Tunisia, England,
Guatemala and Death Valley, among
other locations. “What it means is you
have to act like a corporation president.
In the old days, if the horses weren’t
there, you'd call Jack Warner and yell,
‘Why the hell aren’t the horses here?’
Now you do your own yelling and
hiring and firing. I had to build my
own studio, render the storyboards,
devise the opticals. And I poured a lot
of my own money in.
“T don’t like always to be angry, and
on this I was a lot. The crew did not
always do things as well as I would
have liked. You go around disgusted
and give up being a free person—that's
what directing a major movie is like.”
Steven Spielberg, Lucas’ friend and
director of Jaws, remarked recently, “Oh,
he complains. But look at the results.
George ran down Graffiti too. Before I'd
seen it, he said, ‘Forgive me. This is my
tribute to Sam Katzman [B-picture pro-
ducer, things like Get Yourselfa College
Girl]? I went in expecting a turkey. But
every one of George’s films is incred-
ibly enjoyable—and personal.”
IF MOVIEMAKING IS the work of a
single person, as Orson Welles claimed,
how does the singular Lucas see the fin-
ished product? “You'd better like your
own movies. You have to look at every
frame 300 to 400 times. You can really
suffer. Fortunately, I haven’t made any-
thing yet I couldn't sit through. But, no,
you never deliver your vision.
“Francis says on Apocalypse that he
at last has learned to do the Big Movie.
He says he now sees how it can go
all the way through to the other side.
Before, he always suffered and went
crazy. Like we all do.”
Painter (his oils are reminiscent of
Keane, yet original), furniture builder,
owner of a sci-fi shop in New York,
Lucas is as adept with cars as with
cameras. “I don’t know if even he
knows where his talent comes from,”
Fields said. Others, lately, think that
they know. In a rush to fill in blanks,
rumorists offer Welles-like misconcep-
tions. For example, they say the Lucases
live in “a modest San Anselmo cottage.”
Wrong. They live in a black-shingled
house minutes from the Golden Gate
Bridge. It is actually a mini studio,
complete with editing and screening
rooms—and a 78-rpm jukebox.
Lucas claims he never was a movie
buff: “As a kid [in Modesto, California,
the setting of Graffiti], I only went to
movies to chase girls. I was totally into
cars. Anyway, it took years before good
movies got to my town. And foreign
films—never.
“I wanted to go to art school, but
my father would only send me to a
real university.” Cinematographer
Haskell Wexler, for whom Lucas built
a race car, steered him to USC. “I was
interested in photography, so the only
thing to major in was cinema,” Lucas
remembered. “Suddenly I was turned
on to this whole amazing new world.
Everybody there wanted to direct. But
I learned editing and camera work.”
47
Top: Star Wars cast members Mark Hamill, Carrie Fisher and Harrison Ford in 1977.
Above: Lucas with a model for the second Death Star in Return of the Jedi. Opposite: A
promotional poster for the film that would make Lucas a household name.
Soon he was making movies for
the U.S. Information Agency. Among
the film students hired there by Verna
Fields were Lucas and his future wife.
“George was almost fired,” Fields
recalled. “He kept falling asleep at
the Moviola. Then we realized he
was working on THX at night. We all
thought he was terribly slow. But, yes,
the talent was recognized very early.”
LUCAS BEGAN his association with
Coppola on theill-fated The Rain People.
With some backing from Warner Bros.,
the teaming led to the San Francisco—
based American Zoetrope, an ambi-
tious film factory. When both THX
48 LA TIMES STAR WARS: 45 YEARS LATER
and Rain People flopped at Warners,
the backing came undone. The friend-
ship remained. Later, Coppola used his
bankability to help get Graffiti made.
“The way I make movies I learned
from Francis,” Lucas said. “I was his
right hand for 10 years. I absorbed his
idiosyncrasies. Yet we’re exact oppo-
sites, 180 degrees apart; as a result,
we're each other’s foil. You need that
in this business.”
Still headquartered at Zoetrope, the
men are part of a tribe of Marin County
filmmakers that includes John Korty,
Philip Kaufman and Michael Ritchie.
Though there are other hints, a line in
Star Wars lingers: “Sand People ride
single file.” One is led to believe Lucas
is a loner. Wrong again.
These filmmakers are indeed united
artists, sharing ideas and sometimes
percentage points. Cronyism? “That’s
always been around,” Lucas said defen-
sively. “I’ve lived in San Francisco for
10 years. I’ve spent six weeks in L.A.
mixing this film. I'd never mixed a film
here before. I doubt I'll do it again.
“There's this thing of wanting people
to fail here. ’m notinto all that. wanted
toseeif I could doan epicadventure,and
Ididit. 1 found directing—as opposed to
filmmaking—50 percent business and
50 percent being a psychiatrist. That
doesn’t leave much time for film. So
I’m retiring from this world.
“The system here requires large
budgets. I’m cheap about films. I’ve
always tried to make them for aslittle as
possible. I hate to waste money; I don’t
spend it lightly,” said the man who was
made a millionaire by Graffiti.
That film was the uth largest grosser
ever. Star Wars should put Lucas in the
top 10.
“WHAT DOI wantto do? Underground
films. I want to help my friends. And
I'll executive produce to make a living”
Lucas seems to mean it. “If there’s a
recurrent theme in my work, it’s about
taking responsibility. We really make
our own cages. I call it ‘simplistic posi-
tivism? But the point is, it’s me.”
He claims he won't direct the Star
Wars sequels himself. “There should
be at least three or four, but I won’t
direct them. I made the prototype. I’ll
not do that again. Let others inter-
pret it their own way.... I really want
to go back to film school. I started out
working with my hands, making cabi-
nets, making films. I want to get back
to that. Filmmaking is an art, like any
other, no greater or less. But it’s a crazy
art. Or maybe I’ll get my master’s in
anthropology. That’s what movies
are about, anyway. Cultural imprints.
Visual explorations. There are ways of
evoking images that haven't been done
yet. I want to make films I don’t have
to finish.”
TWENTIETH CENTURY-FOX Presents A LUCASFILM LTD PRODUCTION STAIR WARS
staring MARK HAMILL HARRISON FORD CARRIE FISHER
PETER CUSHING
and
ALEC GUINNESS
Written and Directed by Produced by Music by
GEORGE LUCAS GARY KURTZ JOHN WILLIAMS
PANAVISION = PINTS BY DELUXE = TECHNICOLOR
on feakrnen aren ie
49
THE LOOK
Creating the
Canvas
Conceptual artist Ralph McQuarrie
translated George Lucas’ ideas into the
visual template for an iconic franchise.
BY DENNIS McLELLAN
WHEN DIRECTOR George Lucas hired
illustrator Ralph McQuarrie in 1974, to
create a series of paintings visualizing
scenes from his script for an inter-
galactic war movie he was trying to
sell, McQuarrie liked the concept for
the space fantasy. He just didn’t think
it would ever get made. “My impres-
sion was, it was too expensive. There
wouldn’t be enough of an audience.
It’s just too complicated,” he recalled
in a 1999 interview with the San Diego
Union-Tribune. “But George knew a lot
of things that I didn’t know.”
McQuarrie’s dynamic artwork
helped persuade 20th Century Fox to
greenlight what became the 1977 block-
buster Star Wars, and it helped Lucas
explain his vision. “When words could
not convey my ideas, I could always
point to one of Ralph’s fabulous illus-
trations and say, ‘Do it like this,”
the director said when McQuarrie
50 LA TIMES STAR WARS: 45 YEARS LATER
died in 2012 at age 82. “His genial con-
tribution, in the form of unequaled
production paintings, propelled and
inspired all of the cast and crew of the
original Star Wars trilogy.”
McQuarrie, a onetime technical
artist for Boeing, created the look
of Darth Vader, C-3PO, R2-D2, the
stormtroopers, and many other char-
acters. His production paintings were
also used as models for the design of
many of the film’s locales, such as
the desert planet of Tatooine and the
Death Star. In a 2011 interview with
the Australian newspaper the Daily
Telegraph, McQuarrie said his work
on Star Wars was “a special opportu-
nity to start from the ground up. Being
able to create new characters, vehicles
and different worlds... and since when
I started it wasn’t even clear that the
film would be made, I didn’t have to
limit myself.”
He and Lucas would meet every
few weeks, McQuarrie recalled in that
interview, and “he would explain what
he was looking for and leave me to my
work. Next visit, we would go over my
drawings and discuss any changes. We
hada very good working relationship”
As for the iconic look of Darth Vader,
McQuarrie said, “George had described
Vader as having flowing black robes. In
the script, Vader had to jump from one
ship to another, and in order to survive
the vacuum of space, I felt he needed
some sort of breathing mask. George
said ‘OK? suggested adding a samurai
helmet, and Darth Vader was born.
Simple as that.”
One of the characters McQuarrie
was most fond of was R2-D2. “He
has a lot of personality for a small
metal robot,” the artist said. “The
film version isn’t quite as squat as my
original concept, but for the most part,
it reflects my design.”
McQuarrie went on to work as
a conceptual designer and a matte
painter on both The Empire Strikes
Back and Return of the Jedi. He
also did spaceship design work on
Steven Spielberg’s Close Encounters
of the Third Kind and ET. the Extra-
Terrestrial and shared an Academy
Award for best visual effects for Cocoon.
Among his other credits are Star Trek
IV: The Voyage Home and the Battlestar
Galactica TV series.
“One thing that stands out about
Ralph’s artwork is a sense of scale— he
would often juxtapose a tiny figure in
a painting to demonstrate the grand
scale of the environment the char-
acter was in,” said John Scoleri, who
collaborated with McQuarrie and
Stan Stice on the 2007 book The Art
of Ralph McQuarrie. “The other thing
about Ralph’s work is when he did
the paintings for Star Wars, he never
imagined that those would be seen
beyond the people making the movie.
And yet [decades] later, those paint-
ings are used as posters and lunch-
boxes and toys and have a life that he
never would have dreamed.” @
McQuarrie’s stunning artwork
shows the early ideas for
characters like Yoda (top, in
The Empire Strikes Back) and
the explosive confrontation on
Jabba the Hutt’s barge (above,
in Return of the Jedi).
51
Baby Yoda (aka The
Mandalorian’s Grogu) has
quickly become one of the
most popular Star Wars
characters despite never
having appeared ina movie.
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EXPANDING
THE GALAXY
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EN, eBifeyorld of Star Wars has grown through more diverse storytelling and
— a adventures via TV, books, video games and more.
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TELEVISION
Shows of Force
These T'V series have filled in the
gaps of the movie lore while introducing
a new wave of adventures.
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BY RICH SANDS
54 LA TIMES STAR WARS: 45 YEARS LATER
STAR WARS: THE CLONE WARS
The Emmy-winning computer-animated
series spanned 133 episodes over 12 years
after launching with a feature film in the
summer of 2008. The show introduced
Anakin Skywalker’s popular Padawan,
Ahsoka Tano (above right), a character
who made the jump to live action and will
soon have her own Disneyt+ series.
STAR WARS REBELS
Set in the years leading up toA
New Hope, this show centered on
a group of heroes who worked to
undermine the Empire in the Outer
Rim. James Earl Jones (Darth Vader)
and Frank Oz (Yoda) guest-starred
as their iconic film characters.
STAR WARS RESISTANCE
Another show featuring
aragtag group of rebels
(including BB-8, on loan
from Poe Dameron),
Resistance takes place
as the First Order is
gaining power, alongside
the events of The Force
Awakens.
56 LA TIMES STAR WARS: 45 YEARS LATER
THE BAD BATCH
The Bad Batch, officially known as Clone
Force 99, are a rugged group of clone
troopers who were engineered with
special abilities. Dee Bradley Baker
provides the voices for each member
of the unit, which was first introduced
in The Clone Wars. The second season
premieres on Disney+ this year.
THE MANDALORIAN
Pedro Pascal stars as Din Djarin,
acrafty bounty hunter who was
adopted by the Children of the Watch,
a devout sect of Mandalorian warriors.
After a job goes awry, he commits
himself to protecting the Child (aka
Baby Yoda, whose real name is
Grogu), a Force-sensitive survivor of
the Empire’s purge of the Jedi.
57
58
LEGO STAR WARS SPECIALS
Beloved characters like Yoda, C-3PO,
R2-D2, Darth Vader and Rey geta
comedic spin in these lighthearted,
kid-friendly animated adventures. The
LEGO Star Wars Holiday Special flashed
back to a time when Obi-Wan Kenobi
and Qui-Gon Jinn were bored out of their
minds by the trade disputes that were
central to the prequel films.
LA TIMES STAR WARS: 45 YEARS LATER
THE BOOK OF BOBA FETT
Book has opened a new chapter
on the life of the fan-favorite
bounty hunter (played by
Temuera Morrison), who was
presumably killed off in Return
of the Jedi. Though sometimes
treated like a secondary
character in his own series, the
gritty Fett eventually becomes
crime lord of the city of Mos
Espa on Tatooine, with help
from his associate Fennec
Shand (Ming-Na Wen).
“Seeing him on camera and
seeing himin person, the
way it activates your primal
childhood dreams, we’re all
gonna be second fiddle to
this little guy,” Mandalorian
star Pedro Pascal has said
of his sidekick.
60 LA TIMES STAR S 5 YEARS LATER
THE PHENOMENON
A Child Star
Is Born
Grogu, aka Baby Yoda, has become an
adorable pop-culture sensation.
BY TRACY BROWN
AFTER BLASTING their way through
the doors of a heavily guarded stor-
age facility in a remote encampment,
a pair of bounty hunters follow a
tracking device to a small floating
pod. The slightly weathered, egg-
shaped carrier is unremarkable
at first glance. But the reveal of its
precious cargo during the final mo-
ments of the 2019 series premiere of
The Mandalorian—the Star Wars
franchise’s first live-action televi-
sion series—sent a shockwave unlike
any other throughout the galaxy.
Bundled up within the pod is an
adorable green alien child who im-
mediately wins over the hearts of
viewers. Unofficially dubbed Baby
Yoda for his resemblance to the icon-
ic wizened Jedi Master, the Child not
only became the show’s buzziest
character but one of the biggest pop-
cultural phenomena in recent years.
The continuing popularity of
Baby Yoda—whose name is eventu-
ally revealed to be Grogu—shows
how the delicate balancing act be-
tween nostalgia and innovation can
still be a potent combination for
Star Wars, especially when com-
bined with the strengths of televi-
sion. From the furry, teddy bear—like
Ewok warriors who bravely helped
the Rebel Alliance in Return of the
Jedi to the beakless porgs populating
Luke Skywalker’s remote sanctuary
in The Last Jedi, Star Wars isn’t afraid
to lean into cute in its creature char-
acters. Lovable droids R2-Dz and
BB-8 further exemplify the breadth
of the non-humanoid characters
that have endeared audiences.
Still, Grogu—brought to life on
screen through a combination of
practical puppetry and CGI—is spe-
cial. It’s been clear since his intro-
duction that the Disney+ show’s cast
and crew love Grogu just as much as
its audience does. Werner Herzog,
who played the client trying to pro-
cure the Child, has described him as
“heartbreakingly beautiful.”
With his large eyes and ears,
Grogu’s visual appeal is obvious,
even for non-Star Wars fans. But
this charm is enhanced because
his protector, the Mandalorian Din
Djarin, wears a helmet that cov-
61
ii
ers his face in almost every scene.
Opposite the mysteriously cool
Mando, Grogu’s expressiveness and
diminutive stature make him the
character viewers can’t help but
become attached to. Grogu’s most
adorable moments—from sipping
soup and sneaking eggs to pushing
buttons he shouldn’t—are bite-size
and perfectly shareable as GIFs and
memes. It wasn’t long before people
who are not interested in Star Wars
nevertheless became intrigued by
the sweet little character.
For any Star Wars fans who hap-
pen to somehow be immune to
Grogu’s inherent charms, his resem-
blance to Yoda still makes him an
intriguing character. Plenty about
the history and the inhabitants of
the franchise’s faraway galaxy re-
mains a mystery even after 45 years,
including details about Yoda’s un-
named species.
Perhaps the most surprising deci-
sion around the launch of The Man-
dalorian was Lucasfilm’s choice—
at the request of showrunner Jon
62 LA TIMES STAR WARS: 45 YEARS LATER
ee
See
—————
a
i
>.>...
Grogu’s appeal is so
broad that in 2021
there was a Macy’s
Thanksgiving Day Parade
balloon (top) based on
the bobblehead figurine
made by Funko (left).
Above: Kyle Mooney plays
an irreverent version of
the little green guy on
SNL's “Weekend Update.”
Favreau—to delay the timeline on
creating merchandise based on the
Child so his introduction could
be kept a secret. While this meant
there were no Grogu products im-
mediately available when the show
premiered, the audience did experi-
ence his introduction as the produc-
ers intended.
This is a bit of a departure for a
franchise that includes characters
like Boba Fett, whose introduction
was teased by toys that could help
build anticipation for the movies.
The delay may have helped prolong
the initial fervor around Grogu—
nothing stokes demand more than
scarcity. Plus, fans discussing theo-
ries about Grogu’s identity and past
online, those making their own
Grogu toys to fill the void, and even
those sharing viral memes on so-
cial media were all taking part in a
participatory element of modern
fandom that contributed to the pop-
cultural dominance of “the kid,” as
Djarin endearingly calls him. And
there has been no shortage of offi-
cial Grogu-related items since: dolls,
clothing, jewelry, a Chia Pet, a break-
fast cereal, and even Mandalorian
editions of board games like Monop-
oly and Operation.
Another key strategic decision
was the show’s release schedule. Un-
like other streaming services that
tend to drop full seasons of a show
on one day to allow binge view-
ing, Disney+ releases episodes of its
originals weekly. This not only gives
Disney+’s buzziest show a chance
to build its viewership by word of
mouth, but it draws out the time
viewers have to engage in conversa-
tions about a show as it unfolds. This
serialized aspect of TV storytelling is
particularly suited for building and
sustaining fans in a way that films,
even when part of a franchise, can’t
always replicate.
The magic of Grogu’s popularity
may be impossible to duplicate, but
it makes a strong case that Star Wars’
future might be in television. e
BREAKOUT CHARACTERS
More Fan Favorites
Grogu isn’t the only beloved figure to
originate outside the movies. Here area
few other popular protagonists.
BY RICH SANDS
Hera Syndulla (seen here in Rebels) piloted the starship Ghost, which
keen-eyed observers spotted in Rogue One.
HERASYNDULLA
Asavvy tactician and brilliant
pilot, Syndulla was the leader of
the Spectres, asmall group of
revolutionaries in the animated
TV series Star Wars Rebels, set in
the years just before A New Hope.
Her fans were thrilled to learn she
was still active—and had received
a promotion—in Rogue One, in
which an intercom announce-
mentis heard in the background
summoning “General Syndulla”
to the briefing room.
SAW GERRERA
Though he may be best known
for his appearance in Rogue One
(played by Forest Whitaker), the
gruffextremist made his debut
four years earlier on Star Wars:
The Clone Wars. Fed up with
what he sawas the Rebellion’s
passive tactics, he used ruthless
techniques to fight the Empire.
DOCTOR APHRA
Chelli Lona Aphra was introduced
in the pages of Marvel’s Darth
Vader comic book in 2015
before starring in her ownsolo
series. A morally ambiguous relic
hunter with a sardonic sense of
humor, she has no loyalty to
either side in the Galactic conflict;
her main motivation is the
payday. “Archeology is just grave
robbing with fancy paperwork,”
she once said. “And I’ve got
debts to pay.”
STARKILLER
Asecret apprentice to Darth
Vader, Starkiller (the alias of
Galen Marek, the son ofa Jedi)
is the main character in the
video game Star Wars: The Force
Unleashed, hunting surviving
Jedi knights. (The game allows
players to decide if he chooses a
path of good or evil; anew
version for the Nintendo Switch
was released in 2022.) Among
his many memorable moments
wasa mission in which he
single-handedly used the Force
to pulla massive Star Destroyer
out ofthe sky.
63
CREATIVE FORCE
The New
Architect
A devout disciple of George Lucas,
prolific TV producer Dave Filoni has
built his own storytelling legacy.
BY RICH SANDS
GEORGE LUCAS IS the ultimate Jedi
master of the Star Wars universe, so
it makes sense that he would have
trained a Padawan learner to follow
in his footsteps. That apprentice,
Dave Filoni, worked side by side
with Lucas on the first Star Wars
animated TV series, and has since
become one of the most prolific
creative forces (pun intended) in the
franchise. His name features promi-
nently in the credits for The Mandal-
orian and The Book of Boba Fett, the
two live-action Disney+ series that
have won praise over the last three
years for exploring new territory in
the galactic timeline.
But those are just the most re-
cent examples of Filoni’s work. With
more than 275 episodes (and count-
ing) across six different shows (and
counting), Filoni has had significant
influence over Star Wars storytell-
ing. In 2020, he was promoted to exec-
utive creative director of Lucasfilm,
and he’s seen as an indispensable
resource to anyone working on Star
Wars, including his fellow Mandalo-
rian/Boba Fett executive producer
Jon Favreau. “Even though I was
actually writing the episodes, there
were many, many hours of conversa-
tions, and I would show him things
64 LATIMES STAR WARS: 45 YEARS LATER
I was writing, and he was giving me
a tremendous amount of feedback
and helping guide me through the
world of Star Wars,’ Favreau told
the Writers Guild of America West
in 2021. “He had studied under
George for I think a decade working
on the animated shows, so] felt like I
had a direct connection to the source
code of this whole world with him.”
Lucasfilm president Kathleen
Kennedy has steered the Star Wars
ship since Disney purchased the
company in 2012, and she frequently
leans on Filoni as an essential re-
source. “There isn’t a thing that we
do in the storytelling space that I
don’t check with Dave,’ Kennedy
told Vanity Fair in 2019. “What I
find about Dave is, you don’t just sit
down and have a discussion about
plot or review characters inside the
Star Wars world. You end up having
meaningful, thoughtful discussions
about what it is we’re trying to say
inside the storytelling. He has a lot
of empathy.”
Filoni, who was born three years
before the first Star Wars film pre-
miered, grew up in Mt. Lebanon,
Pennsylvania, a suburb of Pitts-
burgh. His parents’ artistic interests
were a major influence on his own
Filoni has voiced minor
characters in his animated
shows and also appeared
in The Mandalorian as New
Republic pilot Trapper Wolf.
Knowing how popular Filoni
is, Hasbro created a Wolf
action figure.
creative sensibilities. They exposed
him at a young age to, among other
things, the films of Akira Kurosawa
and the music of Leonard Bern-
stein. He was also obsessed with
the Saturday-morning cartoon ver-
sion of the Dungeons & Dragons
fantasy role-playing game, as well
as classic Godzilla movies, the early
Star Trek films and—of course—Star
Wars.
He developed a love for animated
storytelling and got his first signifi-
cant job in the industry as a layout
artist on the Fox show King of the
Hill. A gig directing the Nickelodeon
fantasy series Avatar: The Last Air-
bender put him on the radar of the
Lucasfilm creative team in 2005,
which was looking to finally bring
Star Wars to television.
Filoni has a deep love for Star
Wars—he cosplayed as the Jedi mas-
ter Plo Koon to see Revenge of the
Sith and while attending Comic-
Con International—and went into
the interview with Lucas thinking
it would bea fun story to tell friends
rather than a legitimate chance at a
new job. Alas, Lucas saw Filoni’s po-
tential and hired him to help shep-
herd Star Wars: The Clone Wars, first
as a feature film and then into a se-
ries for Cartoon Network. “Just get-
ting to meet George Lucas was pret-
ty amazing, and then working with
him and getting to be part of this
process,” Filoni told the Times in
2008 when the movie was released.
“It’s a great responsibility. I feel like
my job is to bring his universe to the
screen and make sure it lives up to
the standards he’s set.”
Lucas, who collaborated with
Filoni up until Disney bought his
company, appreciated that Filoni
treated the job as an apprenticeship.
“I immediately found him to be very
open-minded and a great listener,
which are qualities I admire, because
it opens a person up to new experi-
ences,” Lucas told Vanity Fair.
Filoni, who is rarely seen with-
out his signature cowboy hat,
embraced the opportunity to es-
sentially get a degree in Star Wars.
“George was able to take my will-
ingness to learn and instruct me in
all of the ways that he thought Star
Wars should be done,” he told The
Star Wars Show in 2016. “And I was
soaking it up. Each time we did an
episode, it was like an exam, and I
“I feel like my job
is to bring George
Lucas’ universe to the
screen and make
sure it lives up to the
standards he’s set.”
would show him what I learned.”
The Clone Wars developed into
an Emmy-winning series and ran
for six seasons on Cartoon Network
and then Netflix before adding a
final run of episodes on Disney+
in 2020. It explored the period of
time when Anakin Skywalker was
first flourishing as a Jedi before his
decline to the dark side. Filoni cre-
ated an eager Padawan for Anakin,
a Togruta named Ahsoka Tano, who
Anakin affectionately referred to as
“Snips.” Amiable and fierce, Ahsoka
(voiced by Ashley Eckstein) became
a fan favorite.
Since she never appeared in
any of the Star Wars films, viewers
feared she might not have survived
Order 66, the Emperor’s directive
that wiped out the Jedi in Revenge
65
of the Sith. Instead, Ahsoka later
showed up in Filoni’s next animated
series, Disney Channel’s Star Wars
Rebels, and, perhaps most surpris-
ingly, in live-action form in The
Mandalorian and The Book of Boba
Fett, played by Rosario Dawson. The
character will star in her own up-
coming limited series on Disney+,
adding to Filoni’s already Death
Star—size resume.
He followed up Rebels with Star
Wars Resistance, a Disney Chan-
nel animated series that featured a
group of Resistance spies working to
thwart the First Order.
66 LA TIMES STAR WARS: 45 YEARS LATER
Filoni has been praised for cre-
ating new characters like Ahsoka,
Mandalorian warrior Bo-Katan
Kryze and Clone Force 99, the so-
called “Bad Batch” of troopers he
introduced in The Clone Wars (and
who also have their own Disney+
animated series), but he has also
won over fans with his ability to
weave iconic characters into his
shows with meaningful story beats
rather than just fan-service cameos.
At Lucas’ suggestion, he brought
back Darth Maul, the devilish-
looking Sith lord who had been
sliced in half with a lightsaber by
]
/
j
A
Filoni, Lucas anda
young admirer ata 2010
Clone Wars event in
‘San Francisco.
Obi-Wan Kenobi in The Phantom
Menace. Maul’s story of survival and
revenge ultimately played out across
both The Clone Wars and Rebels.
Filoni also brought Admiral
Thrawn, who had existed only in
books, into Star Wars Rebels and
seamlessly incorporated legacy char-
acters like Yoda, Obi-Wan Kenobi,
Darth Vader, Princess Leia, Chew-
bacca, R2-D2 and C-3PO in Clone
Wars and Rebels. “I get asked by
fans about certain characters all the
time,” Filoni told TV Guide Magazine
in 2015. “We’ve been pretty good at
bringing them back, not just because
people want them but because we
have an important story to tell with
them and how things cross over.”
In a memorable arc of The Clone
Wars, he fleshed out the backstory of
a young Boba Fett, the beloved boun-
ty hunter who was orphaned in the
prequel films and became a feared
villain in The Empire Strikes Back.
Adecade later, Filoni and Favreau
got achance to explore the adult Fett
after he escaped apparent death in
Return of the Jedi. He became an
unlikely ally of the Mandalorian,
and then became a Tatooine crime
boss in his own series, The Book of
Boba Fett (see “Man of Mystery,” at
right). “Boba gives us a direct con-
nection to the Star Wars saga, since
he was involved in that story,” Filoni
told the Hollywood Reporter when
the show premiered. “This creates a
nice crossover point for both clas-
sic characters and new characters.
Much of The Mandalorian was new
or had not been seen on screen.
Through Boba Fett, we can weave
some of those characters and tales
together using a character we know
but don’t know a lot about.”
Beyond the Ahsoka series that’s
in production, there are constant
rumors of other projects Filoni may
be tackling in the years ahead, in-
cluding movies. Though Lucas casts
along shadow, it’s clear now that the
apprentice has become a master in
his own right. e
BOBA FETT
Man of Mystery
Being a fan favorite has its advantages:
Despite just four lines in The Empire Strikes
Back, he ended up becoming one of the
franchise’s most popular characters.
BY TRACY BROWN
During the post-credits scene
of The Mandalorian season 2
finale, famed bounty hunter
Boba Fett walks into the
headquarters of acriminal
syndicate to kill a former
associate and take over. The
lingering shot as Fett takes his
place on the throne makes the
message abundantly clear:
It’s his time now.
The spinoff series The
Book of Boba Fett follows Fett
(Temuera Morrison) as he es-
tablishes himself as the new
crime lord in charge among
the local scum and villainy,
along with his faithful right
hand, Fennec Shand (Ming-Na
Wen). The Disney+ series also
fills in the gaps about what
Fett has been up to since
seemingly meeting his demise
in 1983’s Return of the Jedi.
Created more than 40 years
ago, Fett is among the Star
Wars franchise’s best known
and most popular characters,
despite his limited pres-
ence in the original trilogy.
Featured among a group of
bounty hunters assembled by
Darth Vader, Boba Fett made
his live-action debut in 1980’s
The Empire Strikes Back,
played by Jeremy Bulloch.
According to the Disney+
documentary Under the Hel-
met: The Legacy of Boba Fett,
he had just six minutes and
32 seconds of screen time and
spoke a total of four lines.
Still, those few moments
were memorable. A mys-
terious character clad in
battle-worn armor who pilots
aunique ship, Fett helps
Vader track the heroes on
the Millennium Falcon to
Cloud City, where the crew is
captured. And though he’sa
man of few words, it’s clear
Fett is unafraid of Vader or the
Galactic Empire and is more
concerned about collect-
ing the bounty on Han Solo,
whom helater delivers to the
fearsome Jabba the Hutt.
Conceived by George Lu-
cas as anew type of super
trooper, Fett was designed
by the film’s art director
(and future filmmaker) Joe
Johnston and conceptartist
Ralph McQuarrie. Budget-
ary constraints led Lucas to
reconceptualize the character
as alone bounty hunter.
Fett’s first on-screen
appearance actually came
acouple of years before he
was seen in The Empire Strikes
Back, inan animated segment
televised as part of the notori-
ous Star Wars Holiday Special
on November 17, 1978. The
short sees a much chattier
Fett befriending Luke Sky-
walker after saving him and
his droids, only to be revealed
as working for Darth Vader.
(Toy company Kenner offered
aspecial mail-in promotion
for a Fett action figure in 1978
and 1979 with little explana-
tion about who the character
was, adding to the mystery.)
After Empire, the bounty
Fett (with Darth Vader and Lando Calrissian in his Empire
debut, top) finally got the spotlight in The Book of Boba
Fett (with deputy Fennec Shand, above).
hunter returned briefly in
Return of the Jedi, where he
was still part of Jabba’s circle.
When Luke came to Han’s
rescue, Fett was (accidentally)
knocked into the giant mouth
ofa beast called asarlaccina
sand pitand was assumed to
have perished.
Although Fett’s mystique
was part of the character’s
original appeal, his official
backstory was revealed in
2002’s Attack of the Clones,
which introduced Boba’s
father, Jango Fett (played by
Morrison), a bounty hunter
who was used as the template
for the clone soldiers of the
then-Republic’s army. Boba
was created in exchange for
the donated genetic material,
for Jango to raise as his own.
In The Book of Boba Fett,
fans finally get answersas to
how he survived his Return of
the Jedifate (blasting a hole in
the sarlacc and crawling out
through the sand) and what
he’s been up to: living with the
Tusken Raiders, first as a pris-
oner, then as anally, before
meeting Shand and taking
over as crime lord of the
Tatooine town of Mos Espa.
As the season concluded in
early 2022, Fett and his crew
(including the Mandalorian)
had dispatched the spice-
running Pyke Syndicate and
appeared to have brought
peace to his community. How
long that might remain the
case is unknown, but Fett’s
history has been anything but
predictable.
67
BEYOND THE MOVIES
The Never-
Ending Stories
Novels, comic books and video
games have helped satisfy the appetite
of dedicated Star Wars fans.
BY GRAEME MCMILLAN
VIEWERS OF THE Book of Boba Fett
were likely split into two camps when
the Disney+ series introduced a par-
ticularly surly Wookiee in the show’s
second episode. For some, the reac-
tion was doubtlessly along the lines of
“He looks like a particularly grumpy
Chewbacca—that’s cool.” For others,
it was likely closer to a breathless level
of excitement caused by recognizing
Black Krrsantan.
What separates the two isn’t a
failure of memory when it comes
to obscure background characters
from the movies. Instead, it’s a matter
of whether or not the fans in ques-
tion follow the entire Star Wars saga,
wherever it appears—which means
reading the many books and comics
published on a monthly basis, as well
as playing the video games, each of
which makes the galaxy far, far away
just a little bit bigger. To those taking
the wider view, Black Krrsantan is well
known as the overly violent furball for
hire who stars in the pages of Marvel's
Doctor Aphra comic.
The relationship between Star Wars
canon and the publishing empire that
has grown up around the franchise
over the past five decades is, if anything,
68 LATIMES STAR WARS: 45 YEARS LATER
longer and more complicated than it
may appear. For one thing, there were
both Star Wars prose and comics before
the release of the very first movie back
in 1977, thanks to efforts on behalf
of zoth Century Fox to build an audi-
ence as quickly as possible to help what
the studio feared had the potential to
bea box office bomb. Star Wars: From
the Adventures of Luke Skywalker—
the official title of the novelization of
the movie, credited to George Lucas
but actually ghostwritten by Alan Dean
Foster—hit bookstores in November
1976, six months before the movie came
out. Marvel’s Star Wars series launched
in April 1977, just weeks before the
film’s opening.
Both were well received, and it
wasn’t too long before new adventures
set after the end of the original movie
were appearing on a regular basis.
“At last! Beyond the movie! Beyond the
galaxy!” declared the cover of Marvel’s
Star Wars No. 7, released in October
1977 and featuring the first licensed
continuation of the saga. The series sold
well for years before eventually being
canceled in 1986, three years after
Return of the Jedi brought the movie
series to what certainly appeared at
the time to bea close.
Perhaps more interestingly, ghost-
writer Foster followed up the movie’s
novelization with 1978's Splinter of the
Mina’s Eye, an original novel in which
Luke and friends search for a mys-
terious crystal that gives its owner
special powers. The project actu-
ally started life as potential source
material for a cheap sequel to the
original movie, just in case it failed
in theaters; consider it a glimpse at
the road not traveled (thankfully). Del
Rey would go on to publish another six
original Star Wars novels before giving
up the ghost in 1983.
Today, the period between the mid-
1980s and very early ’90s is referred to
by Star Wars fans as “the dark ages”—
a time when it seemed the franchise
was, for all intents and purposes, dead.
That changed in 1991 with the release
of Bantam Spectra’s Star Wars: Heir to
the Empire and Dark Horse Comics’
Star Wars: Dark Empire, two original
projects set in the aftermath of Return
of the Jedi, which launched what would
eventually become known as the
“Expanded Universe” of Star Wars.
The EU, as fans refer to it, redefined
Fans tested out the video
game Star Wars: Battlefront
Ilat Gamescom in Cologne,
Germany, in 2017.
the idea of Star Wars to include sto-
ries stretching out to centuries before
and after the movies themselves,
building grand, elaborate histories of
the Jedi, as well as creating countless
relatives of the movie characters. All
of this was coordinated by Lucasfilm,
which kept tight control of how each
story interacted with the larger con-
tinuity, to the delight of a growing
fan base. As a result, for a generation
of fans, names like Mara Jade and
Grand Admiral Thrawn hold as
much power and importance as Luke
Skywalker or Darth Vader.
Then, in 1996, came the most ambi-
tious Star Wars licensing event to that
point: Shadows of the Empire was an all-
new story set during the original movie
trilogy, told through novels, comic
books, video games and toys. In addi-
tion to being a chance for Lucasfilm to
flex its publishing muscles, it was also
an opportunity for the company to pro-
mote what it had been doing with the
franchise in video games after taking
over the property in 1993. (Parker
Brothers had published a handful of
games in the 1980s; rudimentary in
practical terms, they were essentially
Star Wars in name only.)
In a 2002 interview with Cinescape
magazine, George Lucas distanced
himself from the tie-in material,
70 LATIMES STAR WARS: 45 YEARS LATER
y Oo%4
hil ave
08 ALLL
From left: The first issue of Marvel’s 2015 Star Wars was the best-selling comic of the 2010s; Darth Vader has been
another big hit for Marvel. Opposite: Video games and novels have also fleshed out the saga.
saying, “There’s my world, which
is the movies, and there’s this other
world that has been created, which
I say is the parallel universe—the
licensing world of the books, games
and comic books. They don’t intrude
on my world, which is a select period
of time, [but] they do intrude in
between the movies. I don’t get too
involved in the parallel universe.”
Sure, the movies might make
oblique references to EU concepts.
Aayla Secura, a background character
in the prequel trilogy, got her start in
comics, only for George Lucas to appre-
ciate the design and bring her into the
movies. Similarly, Coruscant, home
planet of both the Galactic Republic
and the Empire in the prequels, was
originally created by author Timothy
Zahn for the novel Heir to the Empire.
But for the most part, the two existed
in their own separate bubbles until the
Walt Disney Company got involved.
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Disney bought Lucasfilm in 2012,
but it wasn’t until 2014 that Lucasfilm
announced it was essentially junking
the entire EU (now known as Star
Wars Legends) in favor of a new, uni-
fied canon. This era would commence
in a novel fittingly titled Star Wars:
A New Dawn and continue in mul-
tiple comic series published by Disney
sibling Marvel, which would launch
the following year.
Everything would be coordinated
by the Story Group, a collection of
Lucasfilm employees who served as
both consultants and traffic cops for
editors and creators telling Star Wars
stories. “Story Group wants you to
swing for the fences; they always do.
But they want you to swing for a very
particular fence, which is the fence that
is somehow going to not knock down
any other fences, which can be really
challenging,” was how writer Charles
Soule (who has penned several Star
Wars comics, as well as the novel Light
of the Jedi) described the group ina 2019
interview with StarWarsNewsNet.
“This future of interconnected
storytelling will allow fans to explore
this galaxy in deeper ways than ever
before,” Lucasfilm president Kathleen
Kennedy said in a quote accompanying
the 2014 announcement, producing
much suspicion among fans.
Such skepticism faded in light of the
results of the decision. Thanks to the
traffic coordination of the Story Group,
there was a new ease of travel for char-
acters and storylines between media.
New movies received entire publishing
programs that offered important back-
ground information ahead of theater
releases. Dangling plot threads finally
found resolution, and fan-favorite
background characters received their
long-awaited spotlight in any number
of releases. Fans of Oscar Isaac’s Poe
Dameron had the chance to meet Poe’s
parents during the era of the original
trilogy in a number of comic projects,
and the First Order’s enigmatic Captain
Phasma was explored in eponymous
comics and prose projects ahead of the
2017 release of The Last Jedi.
Wondering what happened to
Qi’ra from Solo: A Star Wars Story?
Read “War of the Bounty Hunters,” a
storyline that ran through Marvel’s
many Star Wars titles in 2021. Curious
how the Resistance went from one ship
of survivors at the end of The Last Jedi
to the small army at the beginning of
The Rise of Skywalker? The 2019 novel
Star Wars: Resistance Reborn fills you
in. Video games, despite their inter-
active nature, also became canonical;
2017's Star Wars: Battlefront II intro-
duced Iden Versio, an Imperial sol-
dier who would be referenced in other
games and novels for years.
Even Disney’s theme parks got in on
the action: The Galaxy’s Edge attraction
was explored in both the virtual reality
game Star Wars: Tales from the Galaxy's
Edge and a Marvel comic miniseries
set in the location.
Such was the success of this holistic
approach that it stretched back into the
EU. Thrawn, the villain in 1991’s Heir
to the Empire, was brought into canon
for the animated TV series Star ‘Wars
Rebels, then given comic books and
prose novels to reestablish him asa true
threat. Meanwhile, characters created
for what had traditionally been seen as
secondary material started showing up
elsewhere: Krrsantan teamed with Boba
Fett on Disney+, and Doctor Aphra
moved from comics to prose, with a
potential Disney+ series a persistent
rumor in recent years.
Just as publishing and video
games kept Star Wars alive before the
prequel trilogy began in the 1990s,
there’s a sense that publishing—be it
video games, comics or books—has
become central to defining the prop-
erty today. It’s an idea underscored
by the 2021 launch of Star Wars: The
High Republic, a new line of comics
and books set in the distant past of
the franchise showing the Jedi at their
prime for the first time canonically,
ironically introducing something
new to the saga. Forty-five years on,
the tradition continues: The future
of Star Wars will be found in the so-
called tie-in material. e
71
TV PARODIES
A Pop-
Culture Force
Imitation has long been the
sincerest (and funniest) form
of flattery for Star Wars.
BY RICH SANDS
1. It’s no surprise that the
sci-fi-obsessed Big Bang
Theory guys were Star Wars
fans. One episode centered on
their plans to see The Force
Awakens. And in 2014’s “The
Proton Transmogrifica-
tion,” Sheldon is visited in
his dreams by an Obi-Wan
Kenobi-esque version of his
childhood idol, TV host Pro-
fessor Proton (Bob Newhart).
2. In “Mayored to the Mob,” a
1998 episode of The Simpsons,
Mark Hamill plays himself,
starring ina dinner theater
production of Guys and
Dolls singing “Luke Be a Jedi
Tonight” to the tune of
“Luck Be a Lady Tonight.”
3. Adam Driver twice brought
Kylo Ren to Saturday Night
Live in hilarious Undercover
Boss spoofs. First, in 2016,
Ren (disguised as an awkward
radar technician) learns how
unpopular heis. Ina 2020
follow-up, tightly wound Ren
(this time incognito as an
intern) is still lacking in social
skills. “| made four new friends
and only killed one of them,”
he says optimistically. “I’d say
that’s a pretty good start.”
4. Thestars of the Disney
Channel cartoon Phineas
and Ferb traveled to Tatooine
for aspecial episode in which
the boys must contend witha
series of menaces, including
bratty older sister Candace as
an overeager stormtrooper.
“\’ve always looked so good
in white,” shesings. “I’ma
certified, full-blown, armor-
wearing zealot.”
5. Inthe 1996 Friends
episode “The One with the
Princess Leia Fantasy,” Ross
tells Rachel about his obses-
sion with Carrie Fisher in her
iconic gold bikini from Return
of the Jedi. Rachel ultimately
gives him his dream scenario,
but the moment is thwarted
when he imagines something
creepier than Jabba the Hutt:
his mother in the Leia outfit.
6. Cookie Monster, as Flan
Solo, struggles to control
his urge to eat his partner,
Chewie the Cookie, in the
2014 SesameStreet parody
“Star S'mores.” Only One
Cannoli offers some helpful
advice: “Use the four. When
you start to lose control, stop
and count to four.”
72 LATIMES STAR WARS: 45 YEARS LATER
SESAME STREET
Ayoung fan got into the
spirit in London ahead of the
2015 European premiere of
The Force Awakens.
74 LATIMES STAR WARS: 45 YEARS LATER
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Lightsabers were ubiquitous
at the 2019 Celebration in
Chicago. Fans attended
panels on the movies, TV
shows, video games, books, a
comics and toys.
GEEKING OUT
The Ultimate
Fan Festival
What’s it like to attend Star Wars Celebration?
We sent a reporter to the four-day convention
to experience the Force of fandom.
BY JEN YAMATO
76 LATIMES STAR WARS: 45 YEARS LATER
THREE YEARS AGO, in agalaxy not so
far away, an estimated 65,000 Star Wars
fans from across the globe quested
their way to the biggest convention
center in the United States. Their
mission: to be one with the Force that
has fueled the multibillion-dollar
franchise since 1977.
They came to Chicago in April
2019 dressed as Jedi warriors,
stormtroopers, Wookiees, bounty
hunters, Kylos, Reys, Lukes and Leias,
with children, families, fan clubs and
friends in tow—fans of all stripes
representing every known corner
of the Star Wars universe. Featuring
panels, sneak peeks, celebrity sign-
ings and cosplay meetups, Star Wars
Celebration is a uniquely immersive
experience for fans of the now-Disney-
owned space opera franchise. (After
postponements due to the pandemic,
the next Celebration is scheduled to
be held in May 2022 at the Anaheim
Convention Center in California.)
In the cavernous convention ball-
room at McCormick Place, vendors
sold wall-to-wall Star Wars merch.
You could get Lando Calrissian, R2-D2
or the Rebel Alliance logo inked onto
your skin by your favorite tattoo artist
and snag autographs from stars like
Ahmed Best, Jar Jar Binks himself.
Guests could sign up to look for love
at one of several speed-dating ses-
sions, and a few high rollers mulled
purchasing a rare Boba Fett action
figure valued at $365,000, according
to collectibles broker Brian Rachfal of
Roseville, California. Opening a direct
channel to the hearts, minds and pock-
etbooks of their core audience, the
Celebration is one of Disney’s savviest
promotional undertakings.
Star Wars Celebration is part fan
service, part megacorporate mar-
keting. Each morning in Chicago, a
DJ blasted nerd-themed club mixes
and “Bohemian Rhapsody” to pump up
audiences for sneak peeks of Disney’s
Star Wars product slate.
During Friday’s centerpiece
panel highlighting the December
2019 release of saga-ending The Rise
of Skywalker, 7,000 fans at Wintrust
Arena rose to their feet in a standing
ovation for actress Kelly Marie Tran,
who became visibly emotional at the
gesture. It was a palpable display of
support for Tran nearly a year after
online harassers chased her off social
media following the release of The Last
Jedi, which introduced her Resistance
heroine, Rose Tico.
Then there’s the commercial flip
side of Star Wars Celebration, where
unabashed brand synergy can test
the patience of the cynically minded.
Saturday, on the very same stage, cheers
met the announcement that Coca-Cola
had been officially written into the
Star Wars canon, its logo “translated”
into the fictional language of Aurebesh
for the Galaxy’s Edge attraction that
was about to open at Disney parks in
California and Florida.
First held in 1999 in Denver ahead
of the release of The Phantom Menace,
Celebration has been staged over a
dozen times since in the U.S., Europe
and Japan, usually built around an
upcoming film release or franchise
milestone. It’s more intimate and
navigable than the all-encompassing
geek mecca of San Diego’s Comic-Con
International, and there’s only one
universe to deep-dive into. That’s what
enticed longtime Star Wars fan Alexa
Border of Woodland Hills, California.
“It’s still smaller than Comic-Con, so
it’s not as overbearing with the amount
of people. And everything here is from
the same fandom, and that’s really
nice,” she said, taking a moment in
a quiet promenade hallway where
dozens of attendees sat resting and
charging their phones.
78 LA TIMES STAR WARS: 45 YEARS LATER
Dressed in Daisy Ridley’s “Battle
Rey” costume from The Last Jedi,
Border was heading to a meetup of
Rey cosplayers. Her companion, a
Rogue One Rebel trooper named Jim
Villarreal, also from the San Fernando
Valley, nodded in agreement. “I grew
up on Star Wars,” said Villarreal, who
saw A New Hope in the theater as a
kid. Recently he took his fandom to
the next level, joining a Facebook fan
group and cosplaying for charity and
at conventions. “I’ve always enjoyed it,
even more so over the years,” he said.
In his squad button-up after don-
ning a stormtrooper uniform earlier
in the day, 501st Legion member Tom
Rohlf of Des Moines, Iowa, said it’s his
love of Star Wars and the community
he’s found in the fandom that bring
him to Celebration. He came to his
first in Indianapolis in 2005, in search
of exclusive merchandise. A few years
later he joined the ranks of the 5o1st, an
international fan group whose mem-
bers cosplay as screen-accurate storm-
troopers and other Star Wars villains
at costume and charity events. “That’s
the cool thing,” Rohlf said. “With the
501st it’s got to be screen accurate, but
we don’t care who’s in it. Kids don’t see
the differences like adults do. They just
see, ‘That’s Darth Vader. That’s Rey!
And we love it.”
Rohlf considered the slice of
fandom that engenders negativity and
described being inside the Celebration
arena to witness Tran’s emotional
moment. “She cried, I’m pretty sure a
lot of people in the audience cried,” he
said. “It was awesome—to make her see
that we're not all that way.”
If toxic fans were present in the con-
vention center, they weren’t wearing
their sentiments on their sleeve. Among
the many female Kylo Rens, inclusive
Jediand mash-up cosplayers were fans
in Celebration-exclusive T-shirts embla-
zoned with a simple, powerful mes-
sage: “Star Wars is for everyone.” Toxic
fandom “is definitely an online thing”
said Villarreal. “And it’s kind of gotten
out of control. I think people need to
remember that [Star Wars] is something
that brings people joy.”
Oscar Isaac, who played Resistance
pilot Poe Dameron in the most recent
trilogy of films and is of Guatemalan
and Cuban descent, reinforced the
cross-cultural reach of the franchise
when he taught moderator Stephen
Colbert the Spanish title of Star Wars.
“It’s La Guerra de las Galaxias,” he
said, adding a shoutout to the Spanish
version of R2-D2’s name: Arturito.
To date, Star Wars has been trans-
lated into more than 50 lan-
guages. The 2019 Celebration
welcomed attendees from
all 50 U.S. states and more
than 54 countries. Clad in
jeans and a T-shirt and casu-
ally carrying a lightsaber
as he walked into his first
Celebration was 14-year-
old Carlos Rio, who traveled
from Mexico with his parents
and 9-year-old sister, Tania,
who sported Carrie Fisher’s
classic A New Hope dress and
buns, to attend the conven-
tion. “I’m kind of obsessed
with Star Wars,” he said. “It’s
meant a lot to me since I was
a kid. I just love it. I think it’s
because of the story, the char-
acters—all things Star Wars.
My favorite movie is Revenge of the
Sith, and I really like the prequels.”
Brand synergy galore greeted fans
the moment they walked onto the exhi-
bition floor, where Amazon hawked
Star Wars-licensed merchandise and
the Geico gecko peered out at fans
from its booth as an official sponsor
of the Star Wars stage. A few feet away,
stormtroopers in bathrobes and hair
curlers mingled, Sith browsed booths,
and full-body-suited Ewoks yub-
nubbed around, as they do.
Gormaanda, the four-armed
chef from the infamous Star Wars
Holiday Special, stirred and whipped
to the delight of passersby while a
\
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\
purple-haired Vice Admiral Holdo
stood in line for coffee. Near an
Ahch-To backdrop, one of several
Last Jedi Thala-Sirens replete with
udders held a glass of Luke’s favorite
green milk. Among a line of Leias
marching to a photo op with Jabba
the Hutt was a cosplayer dressed as
George Lucas in a bikini. The latter
also posed for photographs chained
toa Jawa with Mickey Mouse’s face.
Incredible craftwork went into
the costuming of Roberto Tateishi of
Sao Paolo, a Brazilian fan of Japanese
descent whose take on blind Jedha
warrior Chirrut Imwe of Rogue One
turned heads. Navigating the floor
wearing milky contact lenses, Tateishi
bore an uncanny resemblance to actor
Donnie Yen with his handcrafted
wooden staff, wearing custom-made
props molded from the body of a
Super 8 camera. “It’s the first character
who was really Asian in the Star Wars
saga that was really important to the
story, and I was born with a likeness
to Donnie Yen’s face,” Tateishi said,
smiling. “I prefer Han Solo, but God
gave me this face,” he joked.
He applauded the inclusiveness that
has come to the Star Wars universe in
recent films. “I’m so proud that people
love Chirrut.... It was a dream to come
to my first Celebration.” @
79
THE TOYS
Lights!Camera! J
Action Figures! *
Since the earliest days of the
franchise, the toy empire has been a
powerful source of profits.
The first line of 3.75-inch
action figures was released
by Kenner in 1978. Original
. action figures in mint
condition and in their
original packaging have
sold for thousands
of dollars at auction.
IN1974, A YEAR after his film American
Graffiti hit theaters and not long after
he finished the rough draft of the
screenplay that would become Star
Wars, George Lucas told an inter-
viewer, “If I wasn’t a filmmaker, I’d
probably be a toymaker.”
Ultimately, of course, he became
both. In giving birth to the Star Wars
universe, Lucas created notjusta series
of beloved movies but also a vast sci-fi
sandbox in which kids could spend
endless hours playing. Over the last
four decades, revenue from Star Wars
merchandise has far exceeded what
the movies have earned at the box
office—estimates for licensed-product
sales since the first film in 1977 range
from $20 billion to $32 billion. As any
Gen Xer who ever played with a prized
collection of Kenner action figures on
a’70s shag rug can tell you, toys have
always been the force that binds the
Star Wars galaxy together.
Steve Evans, former design director
of the Star Wars line at Hasbro, was
one of those kids. Now in his 40s, he
remembers seeing Star Wars at age 5
while on vacation in Los Angeles with
his family from his native England.
“I was instantly hooked,” he told the
Times in 2015. “My grandmother got me
the Millennium Falcon that Christmas,
and it went on from there.”
Evans currently oversees Hasbro’s
line of Marvel products, but he previ-
ously was in charge of the array of toys—
from action figures to vehicles to Nerf
blasters to build-your-own-lightsaber
kits—meeting the demands of a wide
range of Star Wars devotees, including
some whose childhood may bea distant
memory. (With vintage Kenner action
figures in their original packaging
fetching hundreds, if not thousands, of
dollars among collectors, Star Wars toys
are clearly not just kid stuff.)
Prior to his retirement in 2020,
81
Action figures, lightsabers, LEGO sets and spaceships like the Millennium Falcon have
helped fuel a multibillion-dollar Star Wars toy industry.
designer Mark Boudreaux had been
crafting Star Wars toys since the
beginning of the franchise. He still
recalls seeing the first film in 1977 as a
21-year-old industrial design student
at the University of Cincinnati and
intern at Kenner Products. “One only
had to see the lines wrapped around
the block—that was a good indication
that Lucasfilm and Kenner hada hiton
their hands,” he said. “I remember that
it was all hands on deck, not only for
our team but for the entire company.”
The technology involved in
designing Star Wars toys has evolved
considerably from those early years,
when action figures were hand-
sculpted from wax. “We use 3D soft-
ware called ZBrush, where we do all
our sculpting digitally,” said Evans.
“We also have the benefit of having
a lot of the props, characters and cos-
tumes digitally scanned and provided
to us so we can maintain that accuracy
and authenticity.”
Hasbro and dozens of other
licensees have continued to work
82 LATIMES STAR WARS: 45 YEARS LATER
closely with Lucasfilm on the most
recent trilogy of Star Wars films, care-
fully coordinating the “Force Friday”
rollout of toys a few months before
each installment so as to avoid spoilers
in marketing the pictures. “We're very
respectful of Lucasfilm’s need to make
sure the story is revealed the way they
want it to be,” said Evans, who noted
that he wasn’t given scripts to read
ahead of time. He laughed. “I probably
don’t know as much as you think I do.”
Over the years, some have bristled
at the never-ending toyification of the
Star Wars franchise. (“The toy business
began to drive the [Lucasfilm] empire,”
the late Gary Kurtz, who produced Star
Wars and The Empire Strikes Back, told
the Times in 2010. “It’s a shame.”) But
with Star Wars merchandising profits
continuing to soar—Hasbro saw sales
grow by 70 percent in 2020, thanks in
part to popular Mandalorian scene-
stealer Grogu, aka Baby Yoda—and
sequels and spinoffs planned for years
to come, the appetite for the toys shows
no sign of abating. e
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83
Harvey Korman, an Emmy-winning
actor from The Carol Burnett Show,
played multiple roles in the Holiday
Special. Bea Arthur, fresh off the
acclaimed sitcom Maude, played
Tatooine bartender Ackmena.
MEMORABLE MESS
A Not-So-Special
Holiday Special
A bizarre 1978 TV show—complete with musical
numbers, a family of Wookiees and... Bea Arthur?—turned
into an infamous chapter of the Star Wars canon.
BY JESSICA ROY
ON THE FRIDAY before Thanksgiv-
ing in 1978, something very strange
happened. A television event that
had been billed as “a dazzling lineup
of stars, animation, adventure, mu-
sic and visual effects” turned out to
be two hours of The Star Wars Holi-
day Special.
In a way, it made sense. It was
the golden age of the variety show,
and some of the cast of Star Wars,
which had blown up the cinematic
universe the year before, had made
appearances on The Bob Hope All
Star Christmas Comedy Special and
Donny & Marie. It wasn’t entirely
without precedent that the most
popular movie of the previous year
would get a variety show of its own.
Even so—it wasn’t quite what view-
ers were expecting.
The show opened with Wookiees.
Ten minutes of Wookiees. Yes, Chew-
bacca had a family, and they lived in
a rad treehouse loft with green shag
carpeting on the planet Kashyyyk.
Wookiees speak Wookiee, not Eng-
lish, and there were no captions, so it
was 10 full minutes of grunting and
miming, which isa lot.
There was something of a plot—
Han Solo, played by Harrison Ford,
and Chewie had to get home in time
to celebrate “Life Day.” But then Har-
vey Korman appeared in drag as an
alien Julia Child. Bea Arthur sang,
tended bar at the Mos Eisley Cantina
and danced with Greedo. Diahann
Carroll showed up for a virtual real-
ity number, and Jefferson Starship
played a hologram concert in a box.
Luke (Mark Hamill) and Leia (Carrie
Fisher) made appearances, but then
so did Art Carney. At the end, the
Wookiees donned red robes, grabbed
orbs and marched into the sun. Prin-
cess Leia sang.
Not surprisingly, the special nev-
er aired again; neither was it ever
Officially released by Lucasfilm.
(Though the nine-minute animated
segment “The Story of the Faithful
Wookiee,” which introduced Boba
Fett, became available on Disney+ in
2021) It took on an urban-legendary
status, occasionally popping up in
bootleg VHS trading groups; Fish-
er once joked that she had a copy
to play at parties “when I wanted
everyone to leave.”
Over the years, as Star Wars
morphed from film to franchise,
much has been written about this
regrettable special. In 2018, to mark
its 40th anniversary, there was even
a play about its making. “Everybody
went into it with good intentions,”
said Andrew Osborne, the author
of Special, a semifactual retelling of
how it all went down that was staged
at L.A’s Theatre of Note.
Most of the writers and crew
“were coming from a disposable
pop-culture perspective,” he said,
and while George Lucas was at work
creating a richly textured and expan-
sive science fiction universe, “every-
one [at CBS] was like, ‘How do we
work in more musical numbers?”
It all started with the merchan-
dise, or lack of it. When Star Wars
premiered, no toys had even been
developed. Christmas 1977 came and
went without the fans getting to play
Jedi and stormtroopers at home, a
situation 20th Century Fox wanted
to correct by Christmas 1978. But if
85
the studio was going to sell toys, it
needed something to remind kids
how much they loved their heroes.
“Everybody agreed that a television
special was a good idea,” said the late
Jonathan Rinzler, who worked on
Lucasfilm’s publishing initiatives
from 2001 to 2016.
Lucas was very busy in 1978. Ex-
pectations were high for the sequel,
and he was moving his production
company to Northern California, so
he didn’t have time to get very in-
volved with the special. He came up
with the general concept, Rinzler
said: He wanted to expand on the
Wookiees and introduce Chew-
bacca’s family; with concept artist
Joe Johnston, he designed a “Clint
Eastwood-style bounty hunter”
86 LA TIMES STAR WARS: 45 YEARS LATER
who was named Boba Fett.
Then, according to first-person
accounts, production was turned
over to CBS, which put the project
in the hands of veteran variety show
writers and producers. The first di-
rector got frustrated with the budget
and fast-paced production schedule
of television and quit. The costumes
were so thick and bulky that the ac-
tors sometimes passed out. By the
end, the whole thing had run out
of money; the Wookiees in the final
scene were shot wearing Chewbacca
masks. Osborne compared it to “the
variety show version of Murder on
the Orient Express: Everybody par-
ticipated a little bit in the murder.”
He was 10 years old when Star
Wars premiered, and he'd had the
“This thing was meant to be
a happy Life Day, and we’re
in this giant set draped with
black, it wasjust awful,”
Anthony Daniels (C-3PO)
told Entertainment Weekly
in 2020. “It was like being
at a weird funeral. You have
to watch iton YouTube for
the full horror.” Below left:
Chewbacca’s family.
date of the holiday special circled on
the family calendar for weeks. But
then: “Almost immediately, from the
opening credits, I started thinking,
Wait, why is Bea Arthur in this? Why
is Jefferson Starship in this?”
The Boba Fett cartoon—one of
the few highlights—came in just
shy of the hour mark in the special.
After that, Osborne said, his fam-
ily flipped to The Love Boat. (They
weren't the only ones: The special
came in second to Love Boat in the
Nielsen ratings that night for the
8 to 9 p.m. hour and second to the
miniseries Pearl from 9 to 10.)
Richard Woloski, who, with his
wife, Sarah, co-hosts several Star
Wars podcasts, was 9 years old when
he watched it live; he remembers
thinking, “This is all we’re gonna get
until 1980, we better enjoy it.”
And he did—sort of. “I was con-
fused. In the ad for the holiday spe-
cial, it said ‘Han and Luke battle the
Empire and get Chewie home before
the Wookiee holiday’ So I was like,
‘When does this battle take place?”
The most important message of Life
Day, he said, was clearly to buy toys.
“I told my mom, ‘OK, when the com-
mercials come on, grab a pen and
paper and write down everything
you see,” he recalled. “It worked on
me like it was supposed to.”
Tricia Barr, co-author of Ultimate
Star Wars and Star Wars: The Visual
Encyclopedia, was about the same age
when the special aired, and while the
Wookiees made a big impression on
her, the familiar movie characters
and the musical acts were “all mash-
ing up in this really weird way... Back
in that time in the ’70s, television was
alittle weird and wacky anyway.”
Eventually the holiday special
made it to YouTube, where it has
found new life, with many fans
watching it, Osborne said, “like you
look back on your portrait in a high
school yearbook. At the time it’s
mortifying, but looking back, it’s
like, fine, everyone looks goofy.”
As for people who have never seen
the holiday special for themselves,
“wouldn't tell my friends who aren’t
into Star Wars to watch it,” Barr said.
But “if you really want to know Star
Wars history, then you should defi-
nitely check it out.” e
87
GALAXY’S EDGE
Dream
Parks
Disney’s new Star
Wars attractions give
visitors an out-of-this-
world experience.
BY TODD MARTENS
ASTRING OF about adozen Disneyland
guests, from little ones to grown-ups,
are crouched along a wall.
“Shhhh,’ implores a Disney staffer—
or cast member, in park parlance—
dressed as the Jedi Rey from the most
recent trio of films. Rey points her staff
ahead and the group follows, crouching
all the way to another wall, this one
sculpted and painted to lookas though
it was charred by galactic battle and
blaster fire.
We are inside Star Wars: Galaxy’s
Edge, a 14-acre space that cradles
Frontierland and Disneyland’s Rivers
of America. While Sleeping Beauty
Castle is a short walk away, this is still
a place of fairy tales, only the fantasy
here has Western and sci-fi trappings.
And hints of danger.
Now approaching Rey and her cadre
of followers, a group that is growing in
size and onlookers, are a pair of storm-
troopers. Rey jumps up to approach
them, telling the group to point their
hands outward. Star Wars fans know
this is the universal symbol to “use
the Force.” Rey slowly tells the storm-
troopers there are no Rebels here. The
88 LA TIMES STAR WARS: 45 YEARS LATER
d:
3
ra ips.
Amassive Miljennium
Falcon replicais a popular
stop atGalaxy’s Edge.
Visitors can bea pilot,
engineer or gunner on
board the iconic spaceship.
Ayoung visitor inspected
the deck of a Star Destroyer
as part of the Rise of the
Resistance attraction, which
simulates a battle with the
First Order.
agents of the evil First Order turn and
walk back whence they came. The
quest, which played out not too long
ago ina land not too far away known as
Anaheim, was a successful one.
STAR WARS IS many things: movies,
TV series, books, comics, soundtracks,
video games and sometimes even a life-
style. But one of its powers, dating to
May 1977, is to inspire play. Depending
on your age, the toys that accompany
90 LA TIMES STAR WARS: 45 YEARS LATER
the films and shows are either collect-
ibles or tools for sparking imagina-
tion. But whereas Star Wars toys were
once molded from wax and had the
ability to draw lines around the block,
today Star Wars fans who make a pil-
grimage to Disneyland in California or
Florida’s Walt Disney World are lucky
to have their very own play set—a life-
size and lifelike re-creation of a fic-
tional planet that asks guests to lean
in and participate.
“From day one, George Lucas
made this a set of stories that invited
play,” says Scott Trowbridge of Walt
Disney Imagineering, the divi-
sion of the company dedicated to
theme park experiences. Trowbridge
was a principal architect of Star
Wars: Galaxy’s Edge, home to two
rides, the arcade-like romp that is
Millennium Falcon: Smugglers Run
and the nearly 20-minute, immersive
theater—inspired Star Wars: Rise of
the Resistance. “Star Wars really does
occupy a very special kind of inflec-
tion point in the way movies, movie
stories and movie characters translate
into products,” Trowbridge continues.
“You can take these things home with
you, and you can have a more durable
relationship with the stories and char-
acters, and it became a place where
you could expand on the stories to
find yourself in those stories and to
some extent remix those stories. And
I think that DNA is expressed in Star
Wars: Galaxy’s Edge, where we really
want you to be a participant.”
P’VE WITNESSED IT firsthand many
times since Galaxy’s Edge opened in
Anaheim in May 2019. I’ve seen Rey and
Chewbacca lead guests throughout the
land, a pivot from the standard meet-
and-greet of standing and posing for
a photo. Here, Rey is an inhabitant,
and guests meet her on her terms. The
“From day one,
George Lucas
made thisa
set of stories that
invited play.”
atmosphere itself inspires one to get
into character—its sounds natural,
its walls towering, its fake fermented
trees hinting at a past, and its cast
members who speak to you as if you’re
tourists not at a theme park but on
another planet.
I was struck recently when a friend
visiting Galaxy’s Edge for the second
time lightly punched my arm and said,
“Beware. I have a bounty on my head.”
Star Wars: Galaxy’s Edge is designed as
a living place rather than well-known
92 LA TIMES STAR WARS: 45 YEARS LATER
theme park panoramas such as
Fantasyland or Adventureland. “We
wanted to make sure we were leaving
room for you, and for your friend
to be a bounty hunter,” Trowbridge
says when I relay this story. “The story
that’s happening in her head, there has
to be room for it, so she can planta story
seed in her head and take it as far as
she wants it to.”
Allofthiswasarisk, even ifitnodded
back to Disneyland’s beginnings,
most notably in the staged shootouts
and pack mules that brought theat-
rics and activity to Frontierland. Tom
Sawyer Island joined the latter in 1956,
allowing guests to run free amid caves,
trails and a suspension bridge. But
soon, attractions such as Big Thunder
Mountain Railroad, Pirates of the
Caribbean and the Haunted Mansion,
among many others, filled the park and
turned guests into passive viewers.
Only in the past decade or two have
things started to change, most promi-
nently, perhaps, at Universal Studios’
Inside the Millennium
Falcon at the Smugglers
Run attraction. Oga’s
Cantina serves snacks and
drinks with names like
Fuzzy Tauntaun and Jabba
Juice (right). Lieutenant
Bek of the Resistance on
board atransport (below).
Wizarding World of Harry Potter. In
2014, the latter introduced interac-
tive wands, which turned the whole
land into an attraction—or a play set.
Then things accelerated, with theme
park designers increasingly looking
at experiential art spaces, such as
the Meow Wolf collective’s House
of Eternal Return in Santa Fe, New
Mexico, or even immersive theater
such as Sleep No More in New York
City, to raise the question of how
willing guests might be to engage in a
sii
space on amass scale.
For Galaxy’s Edge, Trowbridge
recalls one lunch meeting with then
Disney CEO Bob Iger and Star Wars
creator Lucas, where he explained this
play-focused pitch and detailed that
Galaxy’s Edge would be a new place,
one where guests wouldn't see Luke’s
home planet or familiar sights such as
the Death Star. Galaxy’s Edge is set on
the planet of Batuu in a city known as
Black Spire Outpost, and it’s also home
to shops where guests can build their
en)
TTT
own droid or lightsaber, the latter a full
theatrical experience with a hint of
Star Wars mythology and spirituality.
“I was, of course, somewhat ner-
vous,” Trowbridge says of his lunch
with the two executives. “And trepida-
tious in saying I think we want to not
take advantage of the massive equity
that exists inside people’s minds and
hearts. It was not an immediately intu-
itive decision. That’s where the mind
goes: ‘Oh, you're building a Star Wars
thing. Wouldn't it be great to go to the
93
“If we have successfully given
you the tools to pretend and
enough reasons to believe
that you’re willing to suspend
your disbelief, that isa win,”
says Galaxy’s Edge architect
Scott Trowbridge.
place that I saw in that movie?’ But
we're not in those stories.”
Iger was ready, says Trowbridge, to
greenlight the concept. “Mr. Iger was
on board pretty quickly. We had that
conversation before we sat down with
Lucas. Bob was on board at that point.
Sharing it with George was explaining
why this was the approach. This is
the emotional arc we want to try to
represent.” Star Wars, says Trowbridge,
isn’t a specific story but a way of
telling stories.
Galaxy’s Edge hasn’t been immune
to criticism, namely that both rides
are set between the eighth and ninth
films in the Skywalker saga, which
could be seen as grounding the attrac-
tion in a specific moment in a Star
94 LATIMES STAR WARS: 45 YEARS LATER
Wars timeline. While Trowbridge
wasn’t ready to announce new char-
acters or features coming to the
land, he stressed that what fans see
in theaters or on Disney+ will make
their way into Galaxy’s Edge. Thus far,
for instance, guests haven’t seen, say,
the Mandalorian or Grogu—colloqui-
ally known as Baby Yoda—wandering
the land.
“Black Spire Outpost was specifi-
cally designed to reflect different
epochs of storytelling and different
kinds of storytelling,” Trowbridge says.
“(ll just say this. We have always said
that Star Wars: Galaxy’s Edge is not
locked in a single place and time or a
single set of characters and stories. It
needs to grow and expand and reflect
the broad range of Star Wars story-
telling. We have 40 years behind us
and 40 years ahead of us, and Galaxy’s
Edge needs to connect with all of that.”
In the meantime, the land stands
as a reminder of why theme parks are
important, how they exist as temples
dedicated to the power of play. “That’s
something the Disney parks, overall,
are great at,” Trowbridge says. “They’re
a place to allow your imagination to
come out and to allow your inhibitions
to drop. It’s a safe place to play. It's a safe
place to wear a funny hat. It’s safe to
decide there’s a bounty on your head.
I think that’s really important, that
we continue to give people reasons to
believe that what they’re seeing is real
and tools to pretend.” @
Los Anacles Times
STAR WARS
THE SKYWALKER SAGA AND BEYOND
The prequel trilogy has received its share of c ism, but one high-
light was getting to see Yoda masterfully wield a lightsaber.
LOS ANGELES TIMES
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95
96
LA TIMES STAR WARS; 45 YEARS LATER
INTO THE WOODS
*” George Lucas and director
Richard Marquand with the
Return of theJedi Cast,
on location in Northern
Califarnia in 1982.
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Los Anacles Cimes
THE FORCE, FOREVER
Since the dawn of A New Hope 45 years ago, the Star Wars galaxy has thrilled,
captivated, and expanded by an order of magnitude. Just look inside.
Star Wars L.A. Times (2022)
PANEL TO PANEL
publisher
MIKE RICHARDSON
LANI SCHREIBSTEIN
art director
LIA RIBACCHI
assisting editors
JEREMY BARLOW
MIKE CARRIGLITTO
DAVE MARSHALL
editor
RANDY STRADLEY
The editor gratefully acknowledges the assistance of Amy Gary, Sue Rostoni, lain Morris,
‘Troy Alders, and Leland Chee at Lucas Licensing; Dan Jackson at Dark Horse Comics;
and Lucy Autrey Wilson at JAK Productions.
Star Wars®: Panel to Panel
Published by Dark Horse Books, a division of Dark Horse Comics, Inc.
Copyright © 2004 Lucasfilm Ltd. & TM. All rights reserved. Used under authorization.
Dark Horse Books® and the Dark Horse logo are registered trademarks of Dark Horse Comic, Inc. All rights reserved. No portion of
may be reproduced or transmitted, in any form or by any means, without the express written permission of Dark
Horse Comics, Inc
www.darkhorse.com
www.stanwars.com
To find a comics shop in your area, call the Comic Shop Locator Service
toll-free at 1-888-266-4226
First edition: September 2004
ISBN-10: 1-59307-261-9
ISBN-13: 978-1-59307-261-2
357910864
Printed in China
TABLE OF CONTENTS
HEROES AND ALLIES
page 7
VILLAINS AND ROGUES
page 65
THE JEDI
page 130
SPACESHIPS
page 145
THE WORLDS OF STAR WARS
page 163
INDEX OF ARTISTS
page 189
TIMELINE
page 190
A WORD ABOUT THE CONTENTS
In December of 1991, Dark Horse Comics published Star Wars: Dark Empire #1—the first in what has become a long
line of Star Wars comics and graphic novels. In the years since, comics writers and artists from all over the world
have contributed to the Star Wars canon, telling and illustrating stories encompassing every era of the timeline, from
adventures set thousands of years before the Prequel Trilogy, to tales extending well beyond the events in the Original
‘Trilogy. For many of these time periods (and the worlds, species, and characters featured therein), the comics have
been the only source for visual representations—and many of these illustrations have been quite spectacular, Until now,
some of these images have never been seen except as comic-book covers plastered with logos, blurbs, and bar codes.
What we have endeavored to do here is provide a sampling of the best of the cover illustrations and interior pages
from more than a decade of comics. Deciding which images to include from Dark Horse’s nearly six hundred Star Wars
publications has been no easy task. For several months, fellow editor Jeremy Barlow and I fussed first over boxes of
comics and graphic novel collections, then over a mountain of photocopies, finally narrowing the selections down to
what we thought was a reasonable, manageable stack. As I began to arrange the contents of this book page by page,
it became clear that our “manageable stack” contained far more material than for which I had space. I'm sure, many
readers will have favorites that do not appear within. Given that there were so many beautiful and compelling images
from which to choose (with more images arriving for our current line of comics almost every day!), and only so much
space available, cuts had to be made. If this volume is deemed successful, perhaps some day there can be another,
those pieces that have been included, we have credited the artist(s), and indicated where and when the piece was
originally published and, if applicable, in which graphic novel collection it can currently be seen, Where story pages
have been presented, the writers have also been credited.
Involving nearly as much discussion as what would be included in this book was how the material would be presented,
Should the images be arranged chronologically according to their place in the Star Wars timeline? Or, should they appear
in the order in which they first saw print? Either of these methods had its own set of drawbacks. Placed along the
timeline of a galaxy far, far away, those characters with whom readers would be most familiar would not appear until
the latter part of the book. Arranged in publication sequence, characters and scenes from vastly different eras would
appear side-by-side with no apparent rhyme or reason. Finally, we decided upon grouping images according to their
subject matter: heroes, villains, alien worlds, and so on. This method still left us with a few interesting juxtapositions,
but it succeeded in highlighting the ebb and flow of the recurring themes upon which the Star Wars saga is built.
For those readers curious to know exactly when certain stories take place, or for those interested in further exploring
the rich galaxy of Star Wars comics and graphic novels, a Star Wars timeline is included at the end of this book.
Randy Stradley
April 2004
HEROES AND ALLIES
STAR WaRS®: PANEL TO PANEL
LUKE SKYWALKER
Farm boy ... dreamer ... pilot ... Jedi
Luke Skywalker is the quintessential hero; the Everyman driven by his own sense of justice, yet fated by
his heritage to stand at the crux between the destruction of a galaxy-or its salvation. In his choices we see
reflected our hopes, in his abilities our desires, So, he didn't get the girl in the films—it turned out she was his
sister, anyway. But he did get the lightsaber, the coolest spaceship, and he got to blow up the Death Star!
8 Previous pas
Wizard Ace
art by Dave Dorman, a reworking of his original cover for Dark Empire #1. Originally published as part of the cover of
ition #13 (1997), a promotional comic book given away with issue #67 of Wizard magazine.
HEROES AND ALLIES
Nobody likes their heroes to be too sure of themselves—at |
‘opportunities to question himself, but he always did the r
{ not at first. Growing up on Tatooine, Luke had plenty of
t thing.
Script by Paul Chadwick, at by Doug Wheatley: col
2 Empire #8 (2005), Collected it Empire Volume 2 °
Bee] eur evenrs peess on THeM,
By fe SOON IT 15 ESTABLISNED
‘THEPLL BE FLYING TOGETHER
81668 5 RED THREE
Biot eo Pa
Sem aut
a
Wars®: PANEL TO PANEL
us page: Though most of the footage shot for Star Wars: A Né pvolving Luke's boyhood friend Biggs Darklighter
ended up on the cutting room floor, those scenes were resurrected and expanded upon to reveal that Biggs’ path to joining
the Rebel Alliance was nearly as adventurous as Luke's. This page: in 1997, when the Special Editions of the original tril
were released, Dark Horse commissioned all new art for a retelling of A New
ste in Epic
HERDES AND ALLIES
Luke and Leia crash landed on Circarpous V in one of the earliest Star Wars novels, Splinter of the Mind’s Eye (1978), by Alan
Dean Foster. The story was adapted to comics in 1995. This image appeared on the cover in issue #1 of the series
Art by Hugh Fleming. 1s
STAR WaRS®: PANEL TO PANEL
the Mind's Eye
HEROES AND ALLIES
Art by Duncan Fegrede. Shadows of the Empie—Evolution #3 (1997), ai
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Shortly before Dark Horse began publishing Star Wars comics, a new series of novels by Timothy Zahn hit the bookstores.
Expanding on these immensely popular novels (Heir to the Empire, Dark Force Rising, and The Last Command
Dark Empire revealed the exploits of Luke, Leia, and the others in the years following Return of the Jedi. Eventually, Dark Horse
is well.
| the comics series
published comics adaptations of the novels,
1€ Arf byMathiew Lauffay Heir to the Empire #1 (1995),
HEROES AND ALLIES
Next pages: For a time, resurrecting the Emperor and supplying the Empire with ever more powerful super weapons seemed
to be requisite elements for new Star Wars stories. But it was Luke nearly succumbing to the dark side of the Force that
held readers’ attention in the Dark Empire trilogy. By this point in the storyline, Han and Leia were husband and wife, and
expecting their third child
Tic page art by Mathiew Laulfay: Dat Force Rising #2 (1997). Next page art By Dave Dorma sud cover forthe
el Dark Empire, snd ation 9.8
(1995).
Did we mention that Luke nearly succumbed to the dark side?
Luke found true le
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LEIA ORGANA
Without her raw courage, well-timed sarcasm, and strong leadership, the Rebel Alliance might never have won.
the all-important victory at Yavin. She rarely flew a spaceship, and she didn’t own a lightsaber, but there’s no
doubt that Leia was the heart of the Rebellion sy to believe that
Leia was Luke’s twin. The Force was strong in her, but it manifested itself in her ability to lead and inspire rather
than in martial prowess. Still, she was no slouch with a blaster—as she proved many times. And eventually she
he time the secret was revealed, it was
got to let her hair down...
24
HEROES AND ALLIES
DK
_—~_
Leia as she was when we were first introduced to her.
Art by Brian Selfrece. Star Wars #0: American Entertainment Exclusive (1997), 4 25
TO PANEL
®; PANEL
HEROES AND ALLIES
After the Battle of Yavin, Leia was in demand as a spokesperson for the Alliance, helping to recruit new systems to the
Rebellion. While diplomacy was her strong suit, she was well versed in other methods of persuasion
STAR WaRS®: PANEL TO PANEL
Stranded in the icy wastelands of the planet Hoth, Leia and Han shared tender feelings for one another, as well as body heat.
28 Art by Paul Chadwick. Star Wars: A Valentine Story (2003).
HEROES AND ALLIES
In 1996, Dark Horse joined LucasArts, Ballantine Books, Hasbro Toys, and other Star Wars licensees in Shadows of the E
organized exploration of the previously untold events that occurred between the end of The Empire Strikes Back and the begi
‘of Return ofthe Jedi. Here Leia and Chewbacca have disguised themselves as bounty hunters to infiltrate the criminal organization
Black Sun. Note that Leia is wearing the “Boushh” disguise she uses to gain entry to Jabba’s palace in Return of the Je
Art by Hugh Fleming. Shadows ofthe Empire #4 (1996) 29
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Even pregnancy couldn't keep Leia on the sidelines when duty called.
30 —_ Arby Kilian Plunket. Cover for the called Stat Wars: Dark Force Rising (1998).
HEROES AND ALLIES
Though Leia considered following in Luke’s footsteps and becoming a Jedi, she realized the New Republic was better served
by her political experience than her fencing
Art by Dave Dorman. Dark Empire #6 (1993) 5
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HAN SOLO, CHEWBACCA, AND OTHER HEROES
HEROES AND ALLIES
Han Solo. His name suggests a loner, but Han rarely went anywhere without Chewbacca by his side. Theirs was a relationship
that defied expectations, and it was obvious there was a brotherhood present that went far beyond the necessity to complete
the next smug
thie Laulfeay Dark Fo
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As much a part of the team as either
or Chewie was th um Falcon. The souped-up Corellian freighter was a
rd to Lando Calrissian, who lost her in a bet to Han.
smuggler’s dream machine. She once belo
3a Art by Soa Philips. Ch
HEROES AND ALLIES
The ship’s bridge and hold became the setting for numerous pivotal scenes in the Star Wars mythos, and artists quickly re
that even a portion of her distinctive ront viewport was enough not only to establish the setting, but to evo
Viewer the thrill of Star Wars-style spa
vel Han Solo at Stars’ End (1
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When audiences were first introduced to the galaxy’s greatest smuggler, he had a price on his head. His “wanted” status
brought Han to the attention of the galaxy’s greatest bounty hunter, Boba Fett—resulting in an adversarial relationship that
continued for years to come, as this cover from an issue of Dark Empire 1! attests. This despite the fact that, in happier times,
Han, Lando, and Fett had occasion to work together (facing page).
te Dorm. Datk Ey
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HEROES AND ALLIES
jong his own kind
Art by Mathieu Laujfray Hele to the Empire #3 (1995). we
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A moment that rocked Star Wars fandom: Chewie dies. A scene that first occurred in R. A. Salvatore’s New Jedi Order novel
Vector Prine
40 Script by Darko Macs, art by Rafael Kayman,
HEROES AND ALLIES
STAR WaRS®: PANEL TO PANEL
Lando maintained his cool (well, almost) even when confronted by a rancor. R2-D2 remained the pluckiest droid in the galaxy.
Unfortunately, even the concept of cool escaped C-3P0.
STAR WaRS®: PANEL TO PANEL
iss, and Garven Dreis—the member
HEROES AND ALLIES
Designated Red Two during the Battle of Yavin, Wedge Antilles went on to become one of the Rebellion’s greatest pilots, and
eventually a general for the New Republic. He is particularly famous for his role as commander of Rogue Squadron, the pilots
who were often given the Alliance’s most dangerous assignments.
Art by Dave Dorman. X-Wing: Rogue Squadeon #1 (1
45
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The future Mrs. Skywalker. Mara Jade, once known as “The Emperor’s Hand,” was Palpatine’s foremost assassin. His death
sent her on a hunt for Luke, unaware that she would eventually fall in love with the new leader of the Jedi
Art by Kilian Plunket By the Emperor's Hand #2 (199
HEROES AND ALLIES
PANEL TO PANEL
Jar Jar Binks: blundering fool, inadvertent hero, and eventually a pawn of the Sith (Jar Jar was the one who proposed to the
Senate that Palpatine be granted special, near-dictatorial powers at the onset of the Clone
Art by Dave Dorman. Star Wars Tales #3 (2000)
HERDES AND ALLIES
OBI-WAN KENOBI AND ANAKIN SKYWALKER
‘They were the yin to each other's yang. Fans watched Obi-Wan grow from a Padawan learner to the consumin
Jedi Master, and Anakin go from a slave boy to a powerful Jedi to, well, more on that later. But while they were
together as Master and Padawan and as brothers in arms, they struck a balance that made them an unbeatable
team. Obi-Wan listened to the voice of reason, Anakin heeded the call to action, From the planet-metropolis
of Coruscant to the arena on Geonosis and back again, their exploits brought them to the attention of those in
power... both good and evil.
49
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After suffering a defeat by Obi-Wan early in the Clone Wars, dark Jedi Asajj Ventress became obsessed with destroying
Kenobi—just as he became obsessed with bringing her to justice. In Ventress, Obi-Wan’s fears that he was failing Anakin
were made flesh.
SO Art by Brian Ching. sored by Brad Aederson. Obsession #1 (2004).
HEROES AND ALLIES
Obi-Wan Kenobi fought many famous adversaries during his lifetime, including three Sith Lords: Darth Maul, Count Dooku, and
Darth Vader. Here, and on the pages following, he fights his most notable non-Jedi opponent, the bounty hunter Jango Fett.
This page art by Teun Sana. Fllowing pager script by Henry Gio pe Durack : Dave McCaig, Episode I: Attack of
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General Kenobi, After battling Jango Fett, Obi-Wan’s next a
the Separatists in the Clone Wars.
nment had him leading an army of Jango's clones against
4 Art by Kev Wier Republic #55 2003), oletad in Clone Was Volume 3 (2004).
HEROES AND ALLIES
Twenty-some years later, Obi-Wan would find himself allied with new associates against an old enemy—and an old friend.
This page: Art by Mathieu Laffey The Last Command # (1997) Episode I: The Phantom Menace (1999). 55
HEROES AND ALLIES
Whether in victory, or in retreat, the Clone Wa a heavy toll on the Jedi—physically and spiritually. None seemed so
affected as Anakin,
Previous pg: art by Toons Giorlls. Republic #56 (2003). This page rt by Jan Duurserns, colored by Brad Anderson. Republic
STAR WaRS®: PANEL TO PANEL
Before the fall.
4 Art by Brian Ching. colored by Brad Anderson. Republic #67 (2004),
=)
R
2
VILLAINS AND
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DARTH VADER AND EMPEROR PALPATINE
One a boy
nfinite potential—and boundless rage—steered and controlled from an early age by a
ind deceiver whose machinations destroyed a Republic that had stood for thousands of
years. The other the deceiver himself, wily, deceptively meek, always pulling strings from behind the scenes,
yet brooding and powerful in his own right. Bound to one another by their thirst for power, they ruled the
galaxy—until the master tried to destroy the son the apprentice had just begun to know
master scheme
Previous page: art by Udo Entertainment. Star Wars Tales #17,
VILLAINS AND RoGues
In a galaxy of iconic characters, there is one more instantly recognizable than any other; the icon’s icon, if you will; Darth
Vader. The story of Star Wars is Anakin/Vader's, after all, and every aspect of the character has become so closely associated
with the mythos that Lucasfilm has u c 1's labored, mechanical brea in the soundtrack of the
trailers for some of the films—that being enough to rai r ¢ from anticipatory audiences
STAR WARS®: PANEL TO PANEL
was first released. But the events in
That Anakin had built C-3P0 from spare parts was not known when the original
jent on Cloud City that was not revealed in The Empire Strikes Back
The Phantom Menace suggested new possibilities for a
VILLAINS AND ROGUES
STAR WaRS®: PANEL TO PANEL
70 Artby Francis
7 LA ELF EFF
Ks
: +)
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Whether Vader is viewed in a moment of furious action.
for caught in a reflective paus
VILLAINS AND RoGues
A face only a Sith could love. His visage ravaged by hi
dominance was successful, but at a price.
Art by Dave Dorman. The ackgroure painting for he iage th 97). promstional comic book given away
STAR WARS®: PANEL TO PANEL
0... TOGETHER?
WHAT WOULD You sav
TO AN ALLIANCE
BETWEEN A JED! AND
‘A POLITN?
“THE DESTINY OF.
WE SITM AND THE
EDL ARE INTIMATELY
“TED UP IN YOUR.
From Senator to Emperor, Palpatine was always the master manipulator. From Jedi Masters to his own apprentices, no one
Was exempt from his “han
cpu
VILLAINS AND Rosues
And few understood power—or even the trappings of power—as well as Palpatine
®: PANEL TO PANEL
Even after his death in Ret alpatine re
vex Luke, Leia, and the others. It wasn't until the ev
heroes were finally rid of him.
VILLAINS AND ROGUES
Art by Da
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SITH, GRAND MOFFS, AND OTHER MINIONS
On his path from politician to despot, Palpatine was surrounded by men, women, and aliens who turned his
words into actions. Some embraced their m:
we could all love to hate. Others, possess
goals of domination with greedy glee and became villains
power or will of their own but existing in greater numbers,
were ubiquitous symbols of the Empire—and cannon fodder in its war on freedom.
VILLAINS AND ROGUES
High on the list of popular villains is Darth Maul. Brooding and single-minded, quick to action and slow to speak, he was the
embodiment of the Sith threat in The Pharttom Menace. If writers and artists playing in George Lucas’ sandbox, the Expanded
Universe, have one universal regret, itis that Maul died too soon.
Art by Hugh Fleming. Episode t: The Phantom Menace #3 (1999). 83
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In 2000, Dark Horse was fortunate enough to obtain the services of artist Drew Struzan—famous for producing the art for
numerous film posters, including all of Lucasfilm’s In Jones series and several of the Star Wars films. His covers for the
Darth Mau! miniseries appear on the next four pages.
VILLAINS AND Rosues
You didn't think Maul’s tattoos stopped at his neck, ¢
STAR WaRS®: PANEL TO PANEL
This page and facing: some of the action from the Darth
ul series. So hungry were comics readers and creators for more
Maul that in 2001 Dark Horse produced an imaginary tale under Lucasfilm’s Infinities abel that wwisted time and allowed
Darth Maul and Darth Vader to fight one another for Sith supremacy. That story is collected in Star Wars Tales Volume 3,
sa
Seript Rom Mare. pe
in Darth Maul (2003).
STAR WaRS®: PANEL TO PANEL
After Maul’s demise in The Phantom Menace, Darth Sidious looked to the ranks of ex-Jedi for his next apprentice. More
and if anything deadlier than Maul, Count Dooku (a.k.a. Darth Tyranus) proved himself more
-d skills of Obi-Wan Kenobi and Anakin Skywalker in Attack of the Clones.
sophisticated, more calculatin
than a match for the combi
20 Art by Jam Duursema anal Brad Anderson. Jedi: Court Dooku (2003).
VILLAINS AND ROGUES
—
1 Gronstto-5
In Attack of the Clones, Dooku tried—unsuccessfully—to sway Obi-Wan to his dark path. In the stories told in the comics,
Dooku had better luck with other Jedi, eventually surrounding himself with a cadre of dark Jedi who were anxious to do
his evil bidding.
Art by Tommie Giorll, Clone Wars Volume 4 (2004). 2
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Se vaveTaNaes
tw Noverang
ne Faienon ot pucrors OF Tee
SENG ORDER oS To CuLTiees is
Leeda PROVINCIAL Nreseey
Wives swert
Though he lacked Count Dooku’s dark side abilities, Grand Moff Tarkin was no stra
to the exercise of power. Here he
addresses a graduating class of Imperial cadets—just a few short months before he issues the order for the destruction
of Alderaan,
os From Court Doo (2003), Below
VILLAINS AND RoGues
—)
ble than Vader's, but that didn’t prevent him (and everybody else)
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Some villains became heroes. Here we see the Empire's greatest pilot—Baron Fel—before his capture by, and defection to
the Rebel Alliance. Fel epitomized the professional soldier, placing honor above duty. When the truth of the evil behind the
Empire’s rule became clear to him, he traded his TIE interceptor in for an X-wing and joined the Rebellion
VILLAINS AND Rosues
Some villains remained villains to the end. Imperial Captain Loka Hask gave the Alliance’s Rogue Squadron a run for their
money in their bid for a Mrissti cloaking device.
Art by Mathieu Laulfray X-Wing
ogue Squadron #6 (1996). Colledd in XWing: Rogue Squadron —The Phantom Alfa (1
STAR WaRS®: PANEL TO PANEL
As commanding as Dark Lords, Grand Moffs, and Imperial officers might be, the real day-to-day muscle of the Empire was
its stormtroopers. Heavily armed, identical, and intimidating behind their helmet visors, they were everywhere the Empire
needed them to be—usually en masse
96 These two pages: art by David Michae pice #13 (2003). Facing page: Empire #16 (2004)
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OTHER VILLAINS AND ROGUES
Ranking below (but only just) the Sith and the Imperials, was another class of villains, often unaffiliated with
any government, movement, or ancient religion. Some of these villains were genuinely evil, while others were
simply morally ambiguous enough to overlook the suffering of others if there was a profit to be made.
VILLAINS AND ROGUES
Asajj Ventress in her younger days. Adopted and trained by a Jedi Master who had crash-landed on her war-torn homeworld
of Rattatak, Ventress was discovered by Count Dooku. He convinced her that the Jedi had abandoned her now-deceased
Master and turned her to the dark side for his own use,
Art by Brian Ching, colored by Br Anderson. Republic #60 (2003). 101
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As a dark Jedi, Asajj became Co
Here she is seen alongside former bounty hunter turned Jedi-killer Durge.
rander Ventress, leading some of Dooku’s droid armies against the forces of the Republic
VILLAINS AND ROGUES
“EG
ated
<
Durge is talking about Jedi. That’s Obi-Wan under his
STAR WaRS®: PANEL TO PANEL
The instigator behind many plots, His Immenseness, Jabba the Hutt.
Jabba the Hutt: The Art of the Deal
VILLAINS AND ROGUES
ark Harriss. Jabba the Hutt: The Hung. . 4 in Jabba the Hut: The At ofthe Deal
AR WARS®: PANEL TO PANEL
ur, cheat, and galaxy-class liar, Vilmarh Grahrk (known to his friends and enemies
ked, at one time or another, for everyone from Darth Sidious to the th an eye toward d
his employers. A rogue, but an endeari he alw
VILLAINS AND ROGUES
When Villie encountered Quinlan Vos, a Jedi who had lost his memory, he delighted in manipulating what he liked to call
his “pet Jedi.” The fun lasted until Master Vos got his memory back.
Art by Jon Foster: Stat Wars #34 (2001), 107
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The man who would be emperor. Camor Jax was the best of Palpatine’s elite Imperial Guards. Some seven years after the
events in Return of the Jedi, Jax’s greed for power—and the discovery of his own slight abilities with the Force—led him to
betray his cloned master and his fellow guardsmen.
108 Art by Dave Dorman. Crimson Empire (2
VILLAINS AND RoGues
In his bid for control over the remnants of Palpatine’s empire, Jax surrounded himself with specially trained, black-clad
stormtroopers.
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Camor Jax’s one mistake was allowing Kir Kanos—also an Imperial Guard—to survive the ambush that killed their fellows.
Loyal to the memory of the dead Palpatine and the honor of the squad, Kanos made it his mission to destroy Jax... and any
who stood with him.
110 This page und facing: art by Dave Dorma. Abe: Ceimson Empire #1 (1997). Facing: Crimson Empire #3 (1998).
STAR WaRS®: PANEL TO PANEL
Though by this time both were deceased, the past actions of Palpatine and Vader informed the choices made by all of the
players in Crimson Empire. (Note: that’s not Jabba, it’s Grappa, a major power in the criminal organization Black Sun.)
112 Arty Dave Dorman. Star Wars Handbook #2: Crimson Empire (1999)
VILLAINS AND ROGUES
After Carnor Jax’s short-lived reign had ended, an Imperial Interim Council—whose members had been secretly involved in
Jax’s plot against Palpatine—became the focus of Kir Kanos’ vendetta. (Note: the character on the far left was modeled on
Lucasfilm’s own Lucy Wilson.)
Art by Dave Dorman. Cie
n Empire Hf: Council of Blood #1 (1998) 113
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BOUNTY HUNTERS
Some of the most famous characters in the
jars mythos are bounty hunters—men, women, and aliens
living on the fringes of the lavy, and hunting their fellow sentients for a living,
VILLAINS AND ROGUES
4s bounty hunter Kenix Kil so that Kil would be hired to track down Kanos, thus assurin
found. Confused yet?
ord by Dave McCay. Bounty Hunters: Keni Kil (1999)
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Once a Jedi Padawan herself, bounty hunter Aurra Sing’s specialty was killing Jedi for fun and profit (she had quite a
collection of trophy lightsabers). However, she was adep
tat dealing with other adversaries, as well.
VILLAINS AND Rosues
STAR WARS®: PANEL TO PANEL
Aurra’s Jedi-hunting ways eventually landed her in prison—but never for very long. A resourceful survivor, for a while she
even possessed Jango Fett’s ship Slave |—after Jango lost his head in Atta cs.
VILLAINS AND Rosues
Made famous by their brief appearances in The Empire Strikes Back, bounty hunters 4-LOM (left), Dengar (center), and Bossk
(right) were a continuing source of danger for the heroes of Yavin. The surprise here is that the guy wearing the handcuffs
and the Corellian Bloodstripe trousers (Second Class) isn’t Han Solo—it’s Lando Calrissian
Marc Gabhana. Bounty Hunters: Seound
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While not technically bounty hunters, Jabba’s henchmen Big Gizz and Spiker were willing to take on virtually any unscrupulous
job, no questions asked
The Jabba Tape (1998).
VILLAINS AND ROGUES
Some bounty hunters lived longer than others because they knew that some bounties just weren't worth the risk
Art by Bran Ching, colored by Brad Anderson. Republic #62
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Clockwise from lower left: 4-LOM, Dengar, Aurra Sin;
Boba Fel
enix Kil, Bossk, and the most famous bounty hunter in the galaxy,
Much was made of Fett’s association with “Mandalorian Commandos” in the Expanded Universe before George
Lucas revealed the truth of his origins in Attack ofthe Clones, Fans (and comic-book editors) are still tryin
to sort it out
122 Arty Dave Dorman. Bousny Hunters (2000),
STAR WARS®: PANEL TO PANEL
Though he had only a couple o
of the Jedi, fn interest in the mysterious, helmeted bounty hunter continued to run high. Eventually it was learned that Fett
clawed his way out of the Sarlace pit into which he'd fallen and returned to strike fear into the hearts of those with a price
1es in The Empire Strikes Back, and was done away with in the first twenty minutes of Return
on their heads.
5 Bau Soh, pel olving| McCaig, tering by Steve Dur. Frown the sory “Qutb But Never Outgurmcd”
‘Wars Tales #7
Mike Desdate rinks by
01)
Star Wars Panel to Panel Vol. 1
STAR.WARS
vouume.
j
v
DW
av |
ee
"ee
=» 1 AR.
WARS
PANEL TO PANEL
VOLUME 2
_PA WAN - Bec.
vi Pages
EXPANDING THE 2
TEX}
publisher
MIKE RICHARDSON
designer
TONY ONG
art director
LIA RIBACCHI
assisting editors
DAVE MARSHALL
JEREMY BARLOW
editor
RANDY STRADLEY
The editor gratefully acknowledges the assistance of Elaine Mederer, Jann Moorhead, David Anderman,
Leland Chee, Sue Rostoni, and Amy Gary at Lucas Licensing.
Star Wars®: Panel to Panel Volume 2
Published by Dark Horse Books, a division of Dark Horse Comics, Inc.
Copyright © 2007 Lucasfilm Ltd. & TM. All
ights reserved. Used under authorization.
Dark Horse Books is a trademark of Dark Horse Comics, Inc. All rights reserved. No portion of this publication may
be reproduced or transmitted, in any form or by any means, without the express written permission of
Dark Horse Comics, Inc.
www.darkhorse.com
www.stanwars.com
To find a comics shop in your area, call the Comic Shop Locator Service
toll-free at 1-888-266-4226
First edition: May 2007
ISBN-10: 1-59307-793-9
ISBN-13: 978-1-59307-793-8
13579108642
Printed in China
TABLE OF CONTENTS
THE OLD, OLD REPUBLIC
page 7
COUNTDOWN TO EMPIRE
page 37
THE DARK TIMES
page 91
THE REBELLION
page 115
RETURN OF THE SITH
page 159
WILD SPACE
page 173
GALAXY MAP
page 186
INDEX OF ARTISTS
page 188
TIMELINE
page 191
A WORD ABOUT THE CONTENTS
‘Three years ago, when I wrote the introduction to the first Star Wars: Panel (0 Panel book, | commented on how, due to
space limitations, many of the images I had wanted to include in that volume had to be left out, But I allowed that if
that volume was successful, we might someday be able to produce a second, “Someday” came sooner than I imagined!
1 won't bore you with another recitation of the deliberations that went into deciding which images to use in this book,
and which to set aside. Suffice to say, I still did not have space to include all that I wanted.
As with the first volume, the artist(s) for each illustration, and the comic book in which the piece was first published
and (where applicable) in which graphic novel collection it can currently be seen are indicated. Where story pages are
reproduced, the writers have also been credited.
For those readers curious to know exactly when and where certain stories take place, ot for those interested in further
exploring the rich galaxy of Star Wars comics and graphic novels, a Star Wars timel
the end of this book.
¢ and galaxy map are included at
Randy Stradley
October 2006
STAR WarRS®: PANEL TO PANEL VOLUME 2
THE COMING OF THE SITH
As of this writing, Dark Horse's earliest entry on the Siar Wars timeline begins approximately five thousand
years before the Battle of Yavin—the climax of the film Star Wars: Episode 1
«a good deal further back than “a long tim
New Hope. Admittedly, this is
ago,” but it isa relatively recent point in the history of the “galaxy
far, far away.” Obi-Wan Kenobi gave us a clue to just how far back things began when he said, “The Jedi wet
the guardians of the Republic for a thousand generations.” A generation is typically regarded as about twenty
to twenty-five years, Twenty times a thousand. That is along time ago!
Previous page: art by Duncan Fegredo, Tales of the Jedi: The Golden Age of the Sith col
tion (1997).
THE OLD, OLD RePusLic
If you've seen the films, you know that there are ever only two Sith at one time—master and apprentice. But it wasn’t always
so. When two explorers in search of a new hyperspace route ended up on the planet Korriban, they discovered not just two
Sith, but an entire Sith empire!
Art by Christopher Moeller. Tales ofthe Jedi: Golden Age of the Sith #0 (1996). °
STAR WaRS®: PANEL TO PANEL VOLUME 2
Exiled following an ancient schism, a group of Jedi who had succumbed to the dark side conquered Korriban and its native
species, the Sith, who eventually lent their name to the dark religion. After becoming the Dark Lord of the Sith, Naga Sadow
unleashed his armies on the unsuspecting worlds of the Republic
Art by Duncon Fegrsdo. Tales ofthe Jed: The Fall ofthe Sith Emplre #1 (1997).
THE OL, OLD RePuBLic
As they had for millennia, the Jedi defended the Republic, and Naga Sadow was defeated.
Art by Dave Dorman. Tales ofthe Jedi: The Freedon Nada Uprising #2 (1994) "
STAR WaRS®: PANEL TO PANEL VOLUME 2
In those far-flung days, it was common practice for Jedi to marry and raise children. (Translation: the Prequel Trilogy of films
had not yet been written, and writers didn’t know any better.) When Jedi Andur Sunrider was killed by the agents of an evil
Hutt, his wife Nomi took up her husband's lightsaber and eventually became one of the great Jedi of the era.
‘Thi page and opposite: art by Dave Dorm. Tales of the Jedi #5 (1993) and Tales ofthe Jedi #5 (1904). This series ws collet under the subtle Knights of the
(Old Republic tite dat as since boon resurrected, hot fora series of video games et during the same er, and for mew comic book series launched in 2006
STAR WaRS®: PANEL TO PANEL VOLUME 2
But though their empire was destroyed, the idea of the Sith had taken root in the galaxy, and just over a thousand years after
Naga Sadow’s demise, a new wave of Jedi felt the lure of the dark side. The Republic was once again at war
Art by Hugh Fleming. Tales of the Jedi: Dark Lords of the Sith #1 (1994)
THE OLD, OLD RePusiic
- pitting Jedi against Jedi, and brother against brother—in this case fallen Jedi Ulic Qel-Droma and his bother Cay. And
even when the war was over, peace did not mean safety. On the following pages, Tw:
on his native Ryloth,
lek Jedi Tott Doneeta faces a heat storm
Art by Hugh Fleming. Tales ofthe Jedi: The Sith War #5 (1995). F
dy Willie Schubert. Tales of the Jedi: Redemption #1 (1998), cl
x age: script by Kevin 1. Anderson, art by Chris Gost, colored by Dave Nestle, tering 4S
STAR WARS®: PANEL TO PANEL VOLUME 2
‘That which does not kill you, Tott Doneeta, makes you stronger. You hope.
18 Art by Igor Kode Tales of the Jedi: Redemption #2 (1998).
PANEL TO PANEL VOLUME 2
KNIGHTS AND KNAVES
By 2001, after chronicling the beginnings of the Jedi-Sith conflict over the course of seven graphic novels,
we at Dark Horse turned our attention to other periods along the Star Wars timeline. Then, in 2003, LucasArts,
released the video game Knights ofthe Old Repuilic, set approximately one generation after the Sith War. So
successful was the game that a sequel followed a year later. In planning a revamp of their Star Wars line for
Dark Horse’s twentieth anniversary, Dark Horse editors decided to return to the era of the Old Republic and
introduce a new set of characters who, while caught up in the sweeping events of the time, had their own
problems and own agendas.
20
Previous pug: art by Brian Ching. colored by
1 Atveh. Knights of the Old Republic #0 (2006)
THE OLD, OLD RePuBLic
Depending on how you look at it, Zayne Carrick is either the unluckiest Padawan (student Jedi) of all time, or the luckiest,
Clumsy and barely sufficient in his studies and abilities, Zayne was late for his own graduation to Knighthood—a ceremony
in which all of his fellow students were killed.
Art by Travis Chart. Knights of the Old Republic #1 (2006) 21
THE OLD, OLD RePuBLic
Framed by his own Master for the murders of his classmates, Zayne went on the lam. Pursued by local authorities and the
Jedi, Carrick fell in with thieves, smugglers, and other wanted outlaws . .. which didn't help his claims of innocence.
‘Bath pages: art by Travis Charest. Knights oF the Old Republic #2 and #4 (2006). 23
STAR WARS®: PANEL TO PANEL VOLUME 2
Zayne’s bad luck held in his choice of criminal associates: (from left to right) Jarael, Marn “Gryph” Hierogryph, and Camper
at the controls. Their escape vehicle, the Last Resort, turned out to be no more reliable than Han Solo’s Millennium Falcon.
Seript by Jolen Jackso il
‘of the Old Republic Hi
rel by Michael Ay, ketering by Michael Heisler. Knights of the OM Republic #5 (2006), collet in Knights
THE OLo, OLD RePuBLic
seemed to follow Zayne and his companions no matter where they went
Séript by Joln Jackson Mile, art by Dustin Weaver colored by Michael ative, letering by Michael Heise. Knights of the Old Republic #8 (2006) 25
a
a
Fy
STAR WaRS®: PANEL TO PANEL VOLUME 2
if being chased by the Republic military, the Mandalorian super-commandos, and a rogue Jedi cabal weren't enough, Zayne’s
new traveling companions—particularly the addled inventor Camper and his protector Jarael—weren't exactly thrilled to have
him aboard, blaming the hapless Padawan for the fresh set of problems that plagued them.
28 Arty Travis Chare. Knights of the OMd Republic #3 (
THE OLD, OLD RePuBLic
iggest challenge remained clearing his name—and discovering the identity of a space-suited figure who, a Jedi
vision said, would topple the Jedi order.
ret. Knights of the Old Republic #
STAR WaRS®: PANEL TO PANEL VOLUME 2
But with nearly three thousand years separating his adventures from the next major landmark along the timeline, Zayne
and his pals have time to accomplish their goals. And they may need that time to deal with threats like the bounty-hunting
Ithorian siblings, the Moomo Brothers (above),
32 —_Thispyesart by HOON. Knights of the Old Republic #11 (2006 inset. Knights of the Old Republic
STAR WaARS®: PANEL TO PANEL VOLUME 2
Some 2964 years after Zayne Carrick’s adventures began, there came a turning point in the history of the galaxy. For nearly four
thousand years the Sith Empire had been at war—on and off—with the Jedi and the Republic. One thousand years before the
Battle of Yavin (1000 BBY), things finally came to a head between the two on the planet Ruusan. The Jedi Army of Light and
the Sith Brotherhood of Darkness met in a series of fateful battles.
34 Arty Andrew Robinson, color by Dave Ste
THE OLD, OLD RePuBLic
In the seventh and final battle the Sith Lords, comered and divided against themselves, unleashed a suicide weapon that
destroyed nearly every Force-user on the planet—Jedi and Sith alike.
Serpt by Dark Maca, eis by Ramo F Bach inks by Raul Ferman cla by Chris Bl tring by Stove Data. evs Sih #4 (2001), andthe colton (2002) 35
STAR WARS®: PANEL TO PANEL VOLUME 2
Only two survived, Darth Bane, and a young girl Zannah whom he would take as his apprentice. After seeing how the
bickering between his fellow Sith had led to their demise, Bane decreed that from that day forward there would be only two
Sith at any one time: one Dark Lord and one apprentice. The Sith went into hiding, and the galaxy was at (relative) peace
for nearly a millennium.
36
STAR WarRS®: PANEL TO PANEL VOLUME 2
NEW THREATS, NEW HEROES
Entering into the time period surrounding the Prequel Trilogy (Episodes I-11), Dark Horse (and indeed all of
the Star Wars licensees) faced challenges in the form of limitations set by Lucasfilm. Obviously, it would not
be in their interest to have events in the films “spoiled” in other media, so certain characters and events were
deemed temporarily untouchable. The trick for us was to find ways to turn the limitations into advantages.
38
suneo Sand Star Wars Tales Yolume'3 (2005)
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Fortunately, Lucasfilm had anticipated the needs of its licensees, and each was g inor film character with which to
play. Jedi Council member Ki-Adi-Mundi was Dark Horse's go-to hero leading up to the release of The Phantom Menace.
Kelly Prelude to Rebs
STAR WaRS®: PANEL TO PANEL VOLUME 2
Another character provided by Lucasfilm was former Jedi Padawan turned Jedi-hating bounty hunter Aurra Sing. If you
blinked, you might have missed her appearance during the Podracer sequence in The Phantom Menace, but Sing went on to
star as the villain in a number of stories, having a rich, full life in the EU.
40
Séript by Tim Truman, pencils by Davide Fabbri inks by Chritian Dale Vchia, colored hy Dave MC. Ktering by Steve Due. Star Wars #29 (2001), and collected!
in The Hunt for Aura Sing (2002).
Hunt for Aurra Sing (2002)
STAR WaRS®: PANEL TO PANEL VOLUME 2
She even crossed lightsabers with Ki-Adi-Mundi on one or two occasions.
42 Arty Kee Kelly Star Wars #12 (1999), colestd int Outlander (2001).
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‘The knowledge that the Sith had returned after nearly a thousand years was a concern for the Jedi.
Art by Hugh Fleming. The Phantom Menace #4 (1999)
STAR WARS®: PANEL TO PANEL VOLUME 2
7 HERE Wi. BE riucH
PISCUSSION, OF COURSE.
BUT FOR ALL THEIR TL,
THERE I ONLY ONE
Nets
ES)
ONE OF TWO THINGS,
ETHER OF WHICH
wea eoger
py sue ras
ER WE
VERY STUBBORN Ast
Waauiee yiNowoaRl-.
WHOSE INCONVENIENT
RESISTANCE TOHINO
CONTROL COLD
PRESENT & PROBLEM
INTHE PURE
BE BROUGHT
But even before they became aware of the existence of Darth Maul and his unseen Master, members of the Jedi Council were
already unknowingly confronting the plots and machinations of Darth Sidious,
aa
Script by Randy Stadley pencils by Davie Fabbri, inks by Ch 2. color by Dawe McC, lettering by Steve Dut. Jedi Council: Acts of War #1
2000) ant the collection ofthe same rte (2001). Folin: at by J ‘Star Wats #39 (2002) and The Stark Hyperspace War (2002).
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ty at %
Oo We
ban Ree
\ it
-
|
? ry
Vs
A -
UN
STAR WaRS®: PANEL TO PANEL VOLUME 2
The suppor
Giiett (whose untimely death opened a seat on the cou
g cast grew rapidly. Whiphid Padawan K’Kruhk learned a trick or two from then-Jedi Council member Micah
for Ki. i-Mundi,
lay Davide Fri, inks by Ch
te same name (2002)
48 by Dave MeCais,kttering by Steve Dutre. Jedi Council: Acts of War #1
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as well as from Council leader Mace Windu. Shortly after the beginning of the Clone Wars, K’Kruhk had a crisis of
conscience and abandoned the fight—until Mace convinced him to return to the fold. Considering how things ultimately
turned out for the Jedi, K’Kruhk may have been better off keeping his own counsel.
Seript by John 05
Clone Wars
pencils by Jam Dares, inks by Dan Parsons, color by Brad
3)
airing by Digital Chameleon. Jedi: Mace Wind (2003) and 49
STAR WaRS®: PANEL TO PANEL VOLUME 2
THE CLONE WARS
No event in Star Wars history has been more anticipated than the Clone Wars. When it was revea
ase of Episode I: Attack of the Clones (in which the Clone Wars began) that Episode III would jump ahead
three years to the end of the war, the writers, artists, and editors at Dark Horse saw an opportunity to play in a
time period relatively unfettered by existing continuity. Sure, some of the major players had restrictions placed
on them, but the Clone Wars involved the whole galaxy, and there were lots of participants whom readers had
not met—because we hadn't created them yet!
so
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K’Kruhk wasn't the only Jedi to make a decision he or she would later regret. During one battle, A’Sharrad Het
learned Anakin Skywalker's guilty secret about slaughtering the Tuskens on Tatooine (Attack of the Clones). Hett hoped
that by offering understanding and a sympathetic ear, he could convince Anakin to do the right thing and confess his
crime to the Jedi Council ,
Art by-fan Di
pears in Close Wats Volume 3 (2004). 51
nf Brad Anderson. Republic #59 (2003), and ap,
STAR WaRS®: PANEL TO PANEL VOLUME 2
NT ing
MOTHER Was A TUSKEN, BUT
T LEARNED ON CORUSCENT
THAT TUSKENS XO HUMANS.
‘BRE NOT GENETICALLY
COupaneLE.
Aglare
77 wave seen Tarn Pasonen
my
apologies,
‘waste. 7
REGRET.
NETHER yOUR,
APLoGes NOR YOUR
REGheTS MATTER SKYWIALKER
but Hett’s revelation of his true human identity beneath his Tusken mask wasn’t enough to sway Skywalker. Hett could
have blown the whistle on him, but he believed Anakin would, in time, relieve himself of his own burden of guilt. Coulda,
woulda, shoulda. Hindsight’s always twenty-twenty.
532 Script by dolor Oster, penile by Je Dus, id By Dae Pars
ume 3 (2004).
ral by Brad Aneson, leering by
Stutos. Republic 459 (2003), Clone Wars
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f comic books. Among them, Master
ence network. He was responsible for sending undercover Jedi into dangerous
situations to learn of the Separatists’ plans. But he was not above putting himself in the line of fire when necessary—and
he had the scars to prove it.
id Mich 4 Republic #73
STAR WaRS®: PANEL TO PANEL VOLUME 2
Zao was a blind Jedi who made a point of going where the Force took him, regardless of what was happening in the galaxy
around him. The Veknoid Master supported himself selling his soup—the flavor of which often revealed more about the
taster than its ingredients.
54 Script by Joho Ostr
Clone Wars Yolume 8
by Jan Doses
ering hy Michael David Thomas. Republic #72 (2005) and
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Iq was a Jedi who joined Count Dooku’s Separatists—and the dark side. Here he fights Council member and top Jedi
strategist Oppo Rancisis. Bulq killed the snake-bodied Thisspiasian Jedi, but later got what was coming to him
tt by ta
STAR WaRS®: PANEL TO PANEL VOLUME 2
What would the Clone Wars be without clones?
STAR WARS®: PANEL TO PANEL VOLUME 2
z i
Ke: ‘A CLONE. —
and attitude, Anakin Skywalker eventually 1
give names to the clone officers he would go on
named this particular ARC Trooper “Alpha,” and convinced the clone to
rain
38
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. .. explaining why, later in the war, this Clone Commander is known as “Cody” instead of “2224.” (Commander Cody, one of
the unsung heroes of the Battle of Sarrish, later tried to kill Obi-Wan Kenobi on Utapau, per Palpatine’s infamous Order 66.)
ate colored by Rand Pats
This page: script by Randy Stade art by De
fm Free Comic Book Day 2006: Star Wat
ltering by Michael David Thomas. Following page: art by Soan McNally Both $9
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of the disparate (and now impossible
In Jango Fett: Open Seasons, writer Haden Blackman skillfully wove ma
of what had previously been Boba Fett’s origin story and made them Jango’s. The result not only repaired a rip in Star Wars
continuity, but tumed the elder Fett into an anti-hero fans could fee! good about rooting for. Above, his family murdered by
renegades, young Jango has his first encounter with Mandalorians.
STAR WARS®: PANEL TO PANEL VOLUME 2
As the war progressed, the ranks of the bad guys swelled, as well. Asajj Ventress had already raised an army and conquered
a planet when Count Dooku took her under his wing. She wanted desperately to become a Sith, but was never initiated into
the secrets of that dark religion.
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Ventress had a special hatred for the Jedi, and time and again Dooku unleashed her raw fury on the Republic’s defenders.
She went toe-to-toe with Anakin Skywalker several times, and it was she who gave him the lightsaber scars he bore in
Revenge of the Sith.
Seript by hn Ostrander pencils by are Duursaa kd by Dar ars
Thomas. Republic #71 (2004) and 3
Nilume 6 (2005)
But always Ventress’s main target was Obi-Wan. She despised him more than any o versary .. because he understood
her, and pitied her.
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STAR WarS®: PANEL TO PANEL VOLUME 2
668
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In fact, there’s little question that without the efforts of Obi-Wan and Anakin, the Republic would have had a much tougher
time fighting the war. Either singly, or in tandem, they eventually accounted for Darth Maul, Asajj Ventress, Durge, Count
Dooku, and
Art by Toms Girls. Clone Wats Volume 7 (2005). 67
STAR WaRS®: PANEL TO PANEL VOLUME 2
. General Grievous.
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‘sme
They were an unbeatable team—until Anakin went all dark side. But |
Clone Wars, there are two more characters who deserve special notice
’s not get ahead of our story. Before we leave the
Art by Jan Durem, colored by Brad Anderson. Republic #71 (2004) and Clone Wars Volume 6 (2005) 69
STAR WARS®: PANEL TO PANEL VOLUME 2
SAME PATH, DIFFERENT ENDS
From 2000 to 2005, across the pages of more than sixty individual comic books, Aayla Secura and Quinlan Vos
were the mainstays of Dark Horse’s line. Aayla was the pure one, always striving to do right. Quin had a
dark side, one that burned to confont and destroy evil, but which also led him to be seduced by its power.
Born out of need for characters who could carry on in the comics while Anakin and Obi-Wan were busy in films,
prose novels, and other media, the two Jedi came to exemplify the struggle between order and expediency that
‘would eventually (with a little help from the Sith) bring down the Republic. Along the way, the two characters
attracted the attention of George Lucas himself, which led to roles for each of them in the movies . .. almost.
70
Opposite page: Art by Jam Duursema and Dave McCaig, Star Wars #44 (2002) on Rite of Passage (2003),
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by actress Amy Allen) in the Arena Battle in A
comics adaptation of the film, she put Quinlan
STAR WARS®: PANEL TO PANEL VOLUME 2
Ina way, Vos actually appeared on screen before Aayla. In the film Th m Me
there is a swarthy, dangerous-looking character sitting with the Podracer pilot Sebulba. Duursema liked the way he looked,
ce, in the marketplace scene on Tatooine,
and used him as a template for Vos. The character's appearance has since been canonized in the Expanded Universe as Vos
being on an undercover assignment and not being able to acknowledge Qui-Gon Jinn’s presence
Drs, clo by Dave MCaig. Star Wars #21 (2000
wn ;
Wi aN,
) oe
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nments. Sometimes they infiltrated the strongholds
ut the m
tives was Vilmarh “Villie” Grahrk, a Deva e je to the hi
‘ning employer. In fact, though the Jedi for Darth Si
by Jol Ostrander pencils. 97
: PANEL TO PANEL VOLUME 2
To recount all of the adventures that Aayla, Quin, and Villie had—together and singly—would require an entire book larger
than this one. We can only hope to cover the highlights. For instance, the story in which they were first introduced had both
Quin and Aayla struggling to recall who they were, after the Twi'lek villain Chom Frey Kaa wiped their memories with the
drug glitteryll. Before Aayla fully recovered, she fell under the thrall of the Anzati Dark Jedi, Karkko.
76 This pagesart by Andrew Robinson. Twilight (2001). Opposite: art by Jon Foster. Star Wars #35 (2001) and Darkness (
STAR WARS®: PANEL TO PANEL VOLUME 2
ee
LOOKS,
LE ZENEX
WONT ane
RENDEZVOUS..
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But as time went by, Quin’s undercover infiltration of Count Dooku’s inner circle led him to the dark side
Jan Duarsema, inked by Dan Pars. colored by Brad Anders Michael David Thomas. Republic #66
STAR WARS®: PANEL TO PANEL VOLUME 2
THE SITH WAKES. THE MOMENT
(15 PASSING. TOO SOON /T
where his mania to uncover the identity of Dooku’ Sith Master made Quinlan Vos susceptible to Dooku’s manipulation—
ind Dooku wanted removed. Master K’Kruhk tried to
even fo the point that he assassinated a senator whom Darth Sidiou
protect the senator, and was wounded for his troubles. (I wonder, is that hat just to keep K’Kruhk’s head dry?)
ms, Republic #6
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Eventually, though, with the help of Aayla, Tholme, Obi-Wan Kenobi, the entire Jedi Council, and the love of a good woman
(Khaleen Hintz, pictured), Quin was able to reach the same point of clarity Aayla had come to ... twenty-seven issues earlier
STAR WaRS®: PANEL TO PANEL VOLUME 2
just in time for he and Aayla to lead Republic troops to an important victory on Saleucami,
84 Art by Jam Duursema colorel by Brad Anderson. Republic #76 (2005), collected in Clone Wars Volume 8 (2
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And then came Episode III. While the main story of the film concerned itself with events which would shape the galaxy for
years to come, the backdrop of the ongoing Clone Wars provided an occasion for Obi-Wan to tell Anakin, “Saleucami has
fallen, and Master Vos has moved his troops to Boz Pity.”
Art by Tsuneo Sanda. Episode It: Revenge ofthe Sith (2005).
Bs
An early draft of the screenplay for Revenge of ig troops on Felucia, and Quin going to Kashyyyk along
with Master Barriss Offee to help defend the ¢ homeworld.
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The draft also had both Jedi dying at the hands of their troops after Palpatine gives Order 66 to his clone commanders. It
wasn’t until just before publication of the comics adaptation of the film that we at Dark Horse learned that the decision had
been made to cut Quin’s scene from the final shooting script. So, in the pages of the Revenge ofthe Sith comics and graphic
novel, Quinlan Vos meets his end
Script by Miles Lane, art by Douglas Wht
chy lettering by Mi
avid Thomas. Revenge ofthe Sith (2005). 87
PANEL TO PANEL VOLUME 2
+. OF not, We received word that it was permissible for Quinlan Vos to survive Order 66. So, a new “end” was created
for the character. Quin survived the attack by his own troops and, grievously wounded, escaped the clone troopers who
‘were hunting him and . .. well, Villie tells it better...
Art by dan Du 8 Brad Arson. Republic #85 (
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VILLIE FIND HIM. KNOW OTHER
CLONES COME SOON AND
‘JED MAYBE
SHOULD STILL BE
IN BACTA TANK. NOT ALL
HEALED. STUBBORN GUT,
‘OUR JEDI. INSISTS ON
FINDING His YUM-YUM.
NOT THAT VILLIE
BLAMES HIM... /
YOU DION SHOW
UP AND WORD WAS YOU
WERE DEAD, HOTSHOT! T HAD TO
NOW! T HAD TO COME HERE!
AND GETTING HERE WASNT EASY.
WE HAD A STOP ALONG THE
WAY AS WELL ~~
Will Quin, Khaleen, little Korto, “Une!
‘YOU GONG
TO WORK THAT
OFF, JED! NO.
FREEBIES JUST
BECAUSE WE
FRIENDS!
” Villie, and Masters Tholme and Tra Saa live happily ever after? Only time will tell,
Serip by
{Clone Wars Kolume 9 (2006)
Ostrander perils by tare Darr
Mich
omas. Republic #83 (2006) anf 9
STAR WarRS®: PANEL TO PANEL VOLUME 2
‘The same goes for the handful of other surviving Jedi. Palpatine’s “Jedi purge” was phenomenally successful. According to
official estimates, approximately 97% of the Jedi were gunned down by their own troops. The rest took it on the lam. Except
for Master Zao (in panel 3, above) who, unnoticed, continued to follow the “living Force.”
90
Sérip by Wiles Harley art by Douglas Wheste colon by Chris Chuck
tera by Miche! David Thoynas. Republic #79 (2005) and Clone Wars Volume 9 (2006).
: a hi
ae.) 2!
VA TIMES flit iT
P wn ea
-) am. fh
oo war |
» u(t HH my)
Y
STAR WaRS®: PANEL TO PANEL VOLUME 2
UNKNOWN REGIONS
‘Though not officially recognized as a separate era on the Star Wars timeline (see page 191), the nineteen
years between the time Anakin Skywalker becomes Darth Vader and the time Luke Skywalker first picks
up his father’s lightsaber have long been off-limits to Star Wars licensees, with only minor excursions being
allowed. Now that Revenge ofthe Sith has been released, limited portions of this time period have been opened
for exploration—a situation that has both fans and creators excited. As of this writing, Dark Horse has begun
what we hope will be a long journey into this great unknown.
92
Prevs
005) and Clone Wars Volume 9 (2006)
THE DARK TIMES
Of course, it’s not all unknown. Its beginning and its end are well-established now, as are some of its major players.
Fromm plot by Welles hart script by Mick Blain, art by Douglas lore by Ronda Pattison, lettering by Michael David Thomas. Dark Times #1 (2006). 93
THE DARK TIMES
But, with Obi-Wan Kenobi confined to Tatooine and Yoda sequestered on Dagobah for the duration, most of the weight of
the era falls on Vader's shoulders. But as powerful and iconic as he may be, we don’t want to overburden him with stories
that might become “routine” with repetition, Especially when
Opposite: previously unseat fom ~Datk Tinnes” propos park: Horse gm scensing executives in 2003, Art by Are Ove
This page: art by Douglas Wheatley Dark Times #
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. «there are so many other characters whose stories can be told!
96 ——_Artby Douglas Wheatley colored by Chris Chuckry: Republic #79 (2005) and in Clone Wars Volume 9 (2006).
THE DARK TIMES
PANEL TO PANEL VOLUME 2
The two met when Jennir was on the run from the clone troops he had once led against Bomo and his friends. Obviously, it
was Greenbark’s kind understanding of Jennir’s plight that formed a bond of trust between them.
96 This page: seript by Welles Hartley art by Douglas Wheatley: colored by Chris Chuckny lettering by Michael David Thomas. Republic #79 (2005) and Clone Wars
Nolume 9 (2006). Facing: art by Douglas Wheatley Dark Times #3 (2007).
STAR WARS®: PANEL TO PANEL VOLUME 2
Whether that bond can be maintained is a question for the future. But whatever becomes of Greenbark and Jennir, it is
certain that there are many other characters waiting for their moment on the stage. As of this writing, it is still early days
in the Dark Times series,
teatey Dak Times #5 (2
lettering by Michael David Thomas. Datk Times #1
STAR WaRS®: PANEL TO PANEL VOLUME 2
Our next three stops along the Star Wars ti
ine all involve characters established in the films. Approximately fourteen
years after they were last seen in Revenge of the Sith, C-3PO and R2-D2 became involved in a series of adventures (well, okay,
misadventures) that spanned the next five years. The explanation for the droids’ absence from Captain Antilles’ watchful
eye was finally established on starwars.com’s “What's the Story” fan competition.
102
Art by Kilian Plunkett Deoids #1 (1995).
THE DARK TIMES
Meanwhile, years before he put the “death mark” on Han Solo, Jabba the Hutt had already built his criminal empire—and a
reputation for making deals that no one alive could turn down. The closest the Great Jabba came to not being one step ahead
of his adversaries was when a competitor unleashed a swarm of intelligent, weasel-like Freckers on him.
Art by Mark Harrison. Jabba the Hutt: Betrayal (199%). co
ue Hutt: The Art ofthe Deal (2995)
STAR WaRS®: PANEL TO PANEL VOLUME 2
‘Three years BBY (“Before the Battle of Yavin,” you'll recall), Boba Fett had his first encounter with Darth Vader. It should
be noted that Anakin Skywalker encountered young Boba Fett during the Clone Wars, so he knew who was under the
Mandalorian helmet. Of course, Fett had no idea that Vader was actually Skywalker. And, though they squared off against
each other at the time, it would not be long before Fett’s self-interest had him side with Vader in another situation,
104
Art by Ko Kelly: Boba Fett: Enemy of the Empire (1999) ana the trade paperback of the same tle (1999),
THE DARK TIMES
Here’s the portion of the book where we allow Boba Fett a few pages in which to strut his stuff.
Art by Towne Sands. Boba Fett: Man with a Mission (2007)
STAR WARS®: PANEL TO PANEL VOLUME 2
Besides being Star Wars’s most beloved anti-hero, Boba Fett is second only to Vader as a favorite subject of artists.
fy Gam Kennedy Bobs Fett: Bounty on Bar
Fett: Overkill (2 tli ba Fett: Man
Bobs Fett: Death, Lies, and Treachery (1998). Opposite: art by Adan bush
STAR WARS®: PANEL TO PANEL VOLUME 2
Some of them even got to paint him twice!
108 Art by Jol Nadeau. Boba Fett: Twin Engines of Destruction (1997) amd Bounty Hunters (2000).
THE DARK TIMES
As proof you can’t keep a good bad man down, Boba Fett escaped his Re
Jedi movie death in the Sarlacc pit (twice
by some accounts), and went on to bedevil Han Solo and his friends for years to come. He has even become a mainstay in
the Legacy of the Force novel series published by Del Rey.
of ie Boba Fett: Man with 2 Mission (2 109
STAR WARS®: PANEL TO PANEL VOLUME 2
But, before all that—one year BBY, to be exact—Boba Fett was charged with protecting Han Solo, Chewbacca, Lando Calrissian,
and Greedo during a race to find the fabled Yavin Vassilika. Another example of Jabba the Hutt's self-interest at work:
nc Yavin Vassilka #5 and the collection ofthe same
110. Script by Mike Kennedy art by Carls Melia, colored by Helen Bac letering by Steve Dutre. Und
mame (2001).
THE DARK TIMES
True to his importance to the overall Star Wars
period, as well
STAR WaRS®: PANEL TO PANEL VOLUME 2
Just a few weeks before the events in A New Hope took place, a cabal of disgruntled Moffs and Imperial officers plotted to
assassinate both Palpatine and Vader. The lesson: never underestimate the Sith.
112 This page script by Scot Ale pencils leering by Michelle Madsen. Empire #1 (200%
EnmipireWolume 1 (2003). icing rage
STAR WARS®: PANEL TO PANEL VOLUME 2
"WALKING
AWAY" WOULD OXY
POSTPONE WIPER
‘ABRESSION.
FOR CERTAN THAT I SUPPORT
THE REBELLION. ALDERAAN WIL
COME UNDER ATTACK,
ca
a Hest
RESULTED IN THE DEATH oH
ees
Rg
SOME Wi DE WAL,
UKE THE LADY, SHE HAD REAL
COURAGE. OTHERS WL GOLKE THAT DECIDE IF YOU'RE WILLING.
IWPERIAL =~ CRYING AND BEGGING. TOLET THEM.
THOSE ARE THE HARDEST ONES:
TO TAKE. BUT EVERY DEATH
WAL TAKE SOMETHING
FROM YOU
Not long after, in a story suggested by the events in the Star Wars Radio Drama, Princess Leia and her crew escaped Vader's
clutches, only to find themselves in a standoff with other Imperials on the planet Kattada. The fellow with the tattooed
“headband” is Basso, a Rebel agent who had the plans for the Death Star hypnotically encoded in his memory. The Rebellion
had begun.
14 Script by Randy Stadlee pencils by Davide Fabbri. inks by Chris
ei lettering ad colors by Digital Chameleon. Empire #6 (2003), cold in Empire
ilume $ (2005).
STAR WARS®: PANEL TO PANEL VOLUME 2
THE STAR WARS EVERYBODY KNOWS
«+». OR NOT
‘Though many (many!) stories have been told about the adventures of Luke Skywalker, Princess Leia, Han Solo,
and the other stars of the original trilogy of Star Wars films, there are still substantial gaps in the timeline in
which further tales can be told! When moving into these gaps, the tact we've tried to take is to establish new
characters—who can someday play lead roles in their own stories
Previous page art by To
Gort. Empire and Empire Volume 6 (2006)
THE REBELLION
Which is not to say the “Big Three” (or Four, or Five, etc.) are any less important than they once were.
Art by Dave Dorman. Empire's End #1 and the collection of the same mame 7
STAR WarRS®: PANEL TO PANEL VOLUME 2
Luke is still the lightning rod for adventure
118
STAR WARS®: PANEL TO PANEL VOLUME 2
Han Solo is still the coolest pilot in the galaxy. (Though, we tend to have a fairly flexible definition of “cool” here at Dark
Horse.)
120. Thiepagecart by Tunes Sada. Star Wats Tales me 3 (2003). Facing page: at by Ded Michael! Beck, colored by Brad Anders. Empire
{in Emupite Volumes (,
STAR WaRS®: PANEL TO PANEL VOLUME 2
But whether alone or in a group, the heroes of the original films are but a part of a larger tapestry woven from story threads
stretching actoss the galaxy.
122 Art by Dave Dorman. Dak Empire U1 #6 1995).
THE REBELLION
Though his part in A New Hope was largely cut in the final edit, Biggs Darklighter still fulfilled the pivotal role of Luke's
wingman during the attack on the Death Star. In 2003, Dark Horse restored Biggs to his original place in the story, confirmed
his boyhood history with Luke, and reconciled some long-unnoticed errors in Darklighter’s own timeline.
201 123
STAR WaRS®: PANEL TO PANEL VOLUME 2
BLOOD 10. BODY, A
‘OF
Biggs was already a hero to the Rebellion before the Battle of Yavin. Among his exploits: the liberation of impounded X-wing
fighters which were later used to attack the Death Star.
THE REBELLION
He and Red Squadron also helped acquire astromech droids for those X-wings. It was on that mission that he met smuggler
Nera Dantels. Though the adventures they shared drew them to one another, Biggs’ life ended before their relationship
could blossom,
PANEL TO PANEL VOLUME 2
Later, Dantels and her ship Starduster played an important part in Luke and Leia’s ill-fated mission to the planet Jabiim—a
world where “Skywalker” was a dirty word, thanks to decisions Anakin has been forced to make during the Clone Wars.
Empire #30 (2005).
STAR WaRS®: PANEL TO PANEL VOLUME 2
As the scope of the Rebellion widened, its ranks grew. But to recruit one soldier—a clone trooper who had been marooned
on a jungle planet before Order 66 was given—Luke Skywalker was forced to impersonate a “Jedi General” circa the Clone
Wars era.
128
Art by Tommy Lee Edwands. Empice #27 (2004) and Empire Volume 5 (2006).
STAR WaRS®: PANEL TO PANEL VOLUME 2
THE REBELLION
For those of you keeping track: previous page, of course, Luke Skywalker. This page: General Roons Sewell, who preceded
General Jan Dodonna as the Rebellion’s chief strategist. Following pages: a Duros operative nicknamed “Mouse,” and soon-
to-be Red Squadron pilots Derek “Hobbie” Klivian and Biggs Darklighter ..
"This page art by Klin Plunkett. Empine # 10 (2003) and Emplie Volume 2 (2004). Opposite art by Davi Michael Beck. Empire #37 (2005) 131
STAR WaRS®: PANEL TO PANEL VOLUME 2
STAR WARS®: PANEL TO PANEL VOLUME 2
But the galaxy is a dangerous place, and there is no “safe middle” to be found—as spacer BoShek discovered. (You may
remember him from the cantina scene in A New Hope.)
136 Art by Kilian Plunkett. Empire #23 (2004) anf Empire Volume 5 (2006).
STAR WARS®: PANEL TO PANEL VOLUME 2
Part of the fun of playing in the Expanded Universe is being able to surprise our readers with unexpected connections and
revelations. With Janek Sunber, we established him as a man of common origins with an uncommon sense of right and
duty. He became a bad guy the fans could root for.
1.38 Script by Welles Hartley pencils ant colors by Davi Fabbri. inks by Christian Dalla Vechia, tering by Michael David Thomas. Empire #16 (2004) and Empire
Nolume 3 (2004).
THE REBELLION
‘Then, two years later we revealed that Sunber was Luke Skywalker’s boyhood friend “Tank,” (mentioned in passing in A New
Hope). Luke ran into him during an undercover mission. But even after all of the deceptions were over, Luke was unable to
convince Sunber to leave the Empire and join the Rebellion.
es Harte pencils ad coors by Davide Fabri, inks by Chitin Dalla Veli, letering by Michael David Thomas. Empite #39 (2004) and Empire
139
(2007).
STAR WaARS®: PANEL TO PANEL VOLUME 2
Itwas a failure that would come back to haunt Luke.
THE REBELLION
But there were plenty of other challenges to keep Luke—and the rest of the movie heroes—busy. Shadows of te Empire was
billed as a “movie without the movie,” and was remarkable especially for its behind-the-scenes logistics.
Art by Hugh Fleming. Shadows of the Empire #1 (1996) and
STAR WaRS®: PANEL TO PANEL VOLUME 2
Set in the period between The Empire Strikes Back and Return ofthe Jedi, it was a simultaneous telling of different parts of a larger
story across three mediums: a novel, a video game, and comics. There were even toys, trading cards, and a soundtrack.
142 Arty Chriswpher Moller: Shadows of the Empire (1997).
THE REBELLION
In addition to featuring favorite characters from the films, the story also introduced characters like Dash Rendar, Big Gizz
and his swoop gang, and Prince Xizor, the dreaded head of the criminal organization Black Sun.
Art by Hugh Fleming. Shadows of the Empire #6 (1996) and the collection (1997). 143,
STAR WarS®: PANEL TO PANEL VOLUME 2
The end of Return of the Jedi may have marked the end of Darth Vader, but the Empire was not about to go quietly.
1.44 Art by Luke Ross, colored by Jason Keith. Republic #78 2005) and Honor and Duty (2006)
THE REBELLION
Just days after the Battle of Endor, the pilots of Rogue Squadron were joined by Luke Skywalker for a reconnaissance
ission to the Corellian system—that led to a battle with Imperials seeking revenge for the death of the Emperor,
Art by Gary Erskine. X-Wing: Rogue Leader #3 (2005) and Omnibus: X-Wing Rogue Squadron Vslume 1 (2006). 145
STAR WaRS®: PANEL TO PANEL VOLUME 2
A CEs -
After that, it seemed the Rogues, with Wedge Antilles in command, were in almost constant action. Whether in the skies
above alien worlds...
146 Art by Dave Dorman. X-Wing: Rogue Squadron #2 (1995).
THE REBELLION
on the ground, battling for every inch of gain . .. or in space, taking on the fleets of the Empire, they were never far from
the frontlines fighting for the New Republic
Art by John Nadeau. X-Wing: Rogue
THE REBELLION
And they were met by the Empire’s finest. Here we see Baron Fel, ace of aces.
Pre Nadeau. X-Wing: s is pag 4 Grant Go jue Squadron—Bloodl and 1.49
: PANEL TO PANEL VOLUME 2
The Dark Empire saga marked Dark Horse’s entrance into the Expanded Universe. A decade and a half later, it remains the
best-selling graphic novel in the Star Wars line.
1 Dorman. Dak: Empite
THE REBELLION
Dark Empire spawned two sequels, Dark Empire II and Empire's End, which well and truly put a cap on Palys
reign.
Art by Tsuneo Sand. Dark Empire, sons elton (2006). 153
PANEL TO PANEL VOLUME 2
The Empire, like nature, abhors a vacuum, and it wasn’t long before a number of different individuals lay claim to the vacant
Imperial throne. But one man, Kir Kanos, the last of the betrayed and murdered Imperial guards, defied all of them...
154 Arty Dave Dorman. Crimson Empire (1
THE REBELLION
. «even to the point of siding (briefly) with the forces of the New Republic.
Art by Dave Dorman. Crimson Empite 1 #5 (1999) 155
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Meanwhile, Luke Skywalker undertook the rebuilding of the Jedi order. Establishing an academy in the old Rebel base on
Yavin 4, Luke began training a new generation of Jedi Knights to become, as he put it, “the paladins of the New Republic.”
156
Art by Ray Lage, Jedi Academy: Leviathan #1 (1998)
THE REBELLION
And, though some of Luke’s students would go on to fulfill his expectations, the Jedi—and indeed, the entire galaxy—was
about to face an unexpected threat . ..
Art by Paul Chadwick. Jedi Academy: Leviathan #3 (1998) 187
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one that would take the life of one of the most beloved members of Luke’s extended family. The alien Yuuzhan Vong were
responsible for Chewbacca’s death, but the mark they left on the galaxy went so much deeper...
188 Art by Sau Phillipe. Chewbacca #1 (2000) and
x= eS ee |
STAR WaRS®: PANEL TO PANEL VOLUME 2
SUDDENLY, ONE HUNDRED
YEARS LATER...
{In 2006, as part of Dark Horse’s twentieth anniversary revamp of our entire Star Wars line, we took a gamble
and introduced Legacy. Readers were dropped into brand new continuity set one hundred years after anything
they knew (and 137 years after the Battle of Yavin). The invasion by the Yuuzhan Vong—and their subsequent
defeat—had changed the balance of power in the galaxy. The Jedi order, seeking to undo some of the damage
caused by the Yuuzhan Vong, convinced Yuuzhan Vong Shapers to restore some planets’ ecosystems.
Previous page art by Jan Duursema. Legacy #0 (2006),
RETURN OF THE SITH
This was the moment for which a hidden—but resurgent—Sith order had been waiting. The Sith secretly sabotaged the
restoration attempts, making it look like a Jedi plot. The Galactic Alliance (what the former New Republic had become),
siding with the Jedi, found itself once a
ain at war with the Empire.
Art by Colin Wilson. Legacy #8
1 161
STAR WaRS®: PANEL TO PANEL VOLUME 2
But war also raged within the Empire. Aided by two ambitious Moffs, Morlish Veed and Nyna Calixte, the Sith, under
the command of the mysterious Darth Krayt, took the Imperial throne and attempted to assassinate Emperor Roan Fel
Unfortunately for them, Fel was warned of the trap and the Sith only succeeded in killing his double.
62 This pyers 007), Overea art by Adam
Hughes Cover m
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cing his father murdered and the Jedi scattered had a profound effect on Cade Skywalker. He spent the next seven years
running from his own heritage. He crewed for a pirate, then started his own bounty-hunting operation with partners Jeriah
Syn and Deliah Blue. But there was one figure from his past he just couldn't shake
Previous page: rip by Jol Ostrander pes lore by Brad Ader
sad Legacy Blume 1 (2007). This page
ny are Drs is by Dae Par
ltr by Michael David Thomas. Legacy #2 (2006)
RETURN OF THE SITH
And once word got out that a Skywalker had survived the massacre on Ossus, everybody was looking for him—the Jedi, the
Sith, and the scheming Moffs Veed and Calixte. It is eventually revealed that Moff Calixte has her own reasons for seeking
Cade
Seript by Jol Osan ar by Colin Wis, colored by Br
letering by Michal Heisler. Legacy #9 (2007) 174
STAR WARS®: PANEL TO PANEL VOLUME 2
What transpired during the century between the end of Del Rey's Legacy ofthe Force novels and the beginning of the comics
series Legacy? What is the origin of the enigmatic Darth Krayt and his legion of Sith? Will Cade Skywalker accept, or reject,
his legacy? These are mysteries that only time can answer. But for now, it looks as though Cade has broken his vow to never
again pick up a lightsaber!
Art by Jam Duursema. Legacy #11 (200
STAR WaRS®: PANEL TO PANEL VOLUME 2
INFINITIES AND BEYOND
ation given by Lucasfilm to Star Wars stories that couldn't possibly happen—or at least
couldn't happen exactly as depicted. Sometimes it’s just a matter of the humor or the action being amped up
toa ridiculous degree. Other times events in a tale fly in the face of established continuity, defy the laws of
time and space, have characters behave other than themselves, or all three. Whatever the case, Dark Horse has
produced a number of stories which fit this category
174
Previous page: art by Tsuneo Sarda. Star Wars Tales Volume I (2002)
WiLo Space
GUARDSS
PREPARE MY
Usually these forays beyond the realm of canon are purely for the sake of humor, as with the Tag and Bink stories. Tag and
Bink are two hapless Rebel soldiers who infiltrate the Imperial forces—much to their regret.
Art by Lucas Marangon, colored by Dan Jackson. The Return of Tag and Bink Special Edition #1 (2006). alk sem i Tag and Bink Were Here (2006 175
STAR WARS®: PANEL TO PANEL VOLUME 2
But they can also allow writers and artists to play with situations which could never occur in “real life,” like this duel
between Darths Vader and Maul
Wito Space
STAR WARS®: PANEL TO PANEL VOLUME 2
‘The Infinities venue even allowed real people (ike Dark Horse editor Dave Land) to interact with Star Wars characters. And
vice versa.
1-78 Script by Dove Land, art by Lucas Marangon,ltering by Steve Duro
Wars Tales #13 (2002)
Wito Space
The original trilogy of films also received the Infinities treatment. In the Infinities version of A New Hope, Luke's proton
torpedoes malfunctioned and detonated early, failed to destroy the Death Star, and
Seript by Che Wanner.
pave McC, lteing by Stove Duar. infinties: A New Hope #
Infinties: A New Hope (
PANEL VoLUME 2
s®: PANEL T
Wito Space
Put into the Infinities blender, The Empire Strikes Back was altered when Luke died after being mauled by the wampa in the
ice cave
Seript by Dave
pencils by Davide Fab. nks by Christin Dale Vecchia, colored by Dan Jackson tering by Sieve Dutre. tines: The Empire Sikes Back #718
STAR WARS®: PANEL TO PANEL VOLUME 2
leading to a very different confrontation with Vader in the end. And, in Infinties: Return 9
we Jedi .. . well, you get the
idea.
PANEL TO PANEL VOLUME 2
's banner. For instance, stories told in the style of,
Wito Space
But nobody was allowed more leeway than famed cartoonist Sergio Aragonés who, in a mere twenty-two pages reduced the
Star Wars galaxy to rubble. (Sergio had previously given both the Marvel and DC comic-book universes the same treatment.)
Art by Sergio Aragon, colored by Dawe MeCaig. Sergio Aragonés Stomps Star Wars (2000). 185
GaLaxy Mar
STAR Wana PANEL TO PANEL VOLUME 2.
>
x
Star Wars Panel to Panel Vol. 2
PABLO HIDALGO has been
writing professionally
about Star Wars since
1995. In 2000, he joined
4 Lucasfilm to become a
full-time Star Wars
authority, first as a StarWars.com writer,
and now as a creative executive in story
development. He has written or co-written
several authoritative Star Wars reference
books, including Star Wars: Year by Year
and Star Wars: The Essential Reader’s
Companion, as well as guide-books to
other brands such as Hasbro’s G./. Joe and
Transformers. He lives in San Francisco.
TT KEMP REMILLARD has
| been а professional
concept artist/illustrator
for more than a decade,
working for clients as
varied as Electronic Arts,
Nintendo, Sega, DARPA, Northrop
Grumman, Scientific American, and
Cartoon Network. He has illustrated DK’s
Star Wars: The Force Awakens Incredible
Cross-Sections and Star Wars Complete
Locations. He lives in San Francisco where
he works as a Senior Concept Artist for
the commercial art studio Massive Black.
ROGUE ONE
THE ULTIMATE VISUAL GUIDE
WRITTEN BY PABLO HIDALGO e with ıLLustrations BY KEMP REMILLARD
CONTENTS
Foreword 6 A New Partnership 54
Introduction 8 K-2S0 56
Overview 10 Rebel Support 58
U-wing Gunship 60
CHAPTER 1: A FRAGILE PEACE 12 UT-60D Cross-Sectional View 62
Lah'mu 14 X-wing Fighter 64
Coruscant Ties 16
Lyra Erso 18 CHAPTER 3: OCCUPIED TERRITORY 66
Erso Homestead 20 Jedha 68
Jyn’s Toys 22 Posing as Pilgrims 70
Krennic’s Shuttle 24 Jedha Pilgrims 72
Delta-class T-3c Cross-Sectional View 26 Jedha Civilians 74
Death Troopers 28 Culture Clash 78
Peace Disrupted 30 Saw Gerrera 80
Saw’s Hideout 82
CHAPTER 2: REBEL ALLIANCE 32 Saw’s Militia 84
Jyn Erso 34 Two Tubes 86
Jyn’s Mission 36 Bodhi Rook 88
Yavin 4 38 Chirrut Imwe 90
Mon Mothma 40 Battle on Jedha 92
Admiral Raddus 42 Baze Malbus 94
General Draven 44 Guardian Weapons 96
General Merrick 46 Combat Assault Tank 98
Alliance High Command 48 TX-225 Occupier Cross-Sectional View 100
Rebel Senators 50 Tank Drivers 102
Cassian Andor 52 AT-ST 104
CHAPTER 4: THE EMPIRE
Orson Krennic
Darth Vader
The Death Star
DS-1 Evolution
Star Destroyer
Power Struggles
Imperial Command
Imperial Support
Eadu
Galen Erso
Death Star Scientists
Stormtroopers
Troopers on Alert
Stormtrooper Equipment
Eadu Extraction
CHAPTER 5: GOING ROGUE
Scarif
Cargo Shuttle
Shuttle SW-0608 Cross-Sectional View
Scarif Vault
Going Undercover
106
108
110
112
14
116
18
120
22
24
126
128
130
132
134
136
138
140
142
144
146
148
Death Star Plans
Shoretroopers
Rebel Troops
Pao
Bistan
Canopy Combat
AT-ACT
Battle of Scarif
X-wing Pilots
Blue Squadron
Rebel Pilot Helmets
Y-wing Fighter
E Fighter
E Striker
E/SK Fighter Cross-Sectional View
he Profundity
ize Comparison
о ب ب ب ч
CHAPTER 6: A STAR WARS STORY
Concept Art
In Production
The Shoot
Behind the Scenes
Index
Acknowledgments
154
170
172
174
176
178
180
182
184
186
188
190
192
194
196
200
| remember what a revelation Star Wars was when it first arrived.
Before Star Wars, ambitious science fiction depicting alien worlds and
creatures on a large canvas also came with a need to willingly suspend disbelief.
Alien planets that were obviously inside a soundstage—with a painted backdrop,
obvious miniature effects, or cheap “spacey” costumes—were the norm.
Then Star Wars came along with wild imagination, great design, and really high-quality
execution. There was really nothing else like it, and | was the perfect age for it.
Star Wars had changed everything. It changed the whole direction of my career
plans. | pursued a career in entertainment because of Star Wars.
In developing the story idea for what would become Rogue One: A Star Wars Story,
it was irresistible to revisit the era of A New Hope for a handful of familiar locations,
characters, and vehicles. Nostalgia just for nostalgia’s sake is not compelling, and we
knew it was important to do something new and different. We tried to strike a balance
of seeing new worlds and getting to know new characters—new imagery with just
enough of the familiar that Rogue One could flow seamlessly into A New Hope.
The design challenge in doing that was immense, and | gained an increased respect for
. just how brilliant the design work for A New Hope was. So many perfect choices had
been made back in the day, and much of it could not be significantly improved upon.
A large team of extremely talented designers has risen to the challenge of fitting into that
design legacy. I’m extremely proud of the the work they have done over the last two years.
. The characters, sets, ships, costumes, and environments have succeeded in honoring that
previous work. In looking through the following pages, | hope you will agree.
JOHN KNOLL
Executive Producer and
Visual Effects Supervisor on
Rogue One: A Star Wars Story
The Star Wars galaxy is filled with stories. Beyond the ongoing
saga of the Skywalkers and the Solos, there are countless
tales to be told of everyday denizens facing unspeakable
challenges. In a galaxy of conflict, heroes arise every day,
and their names are not always recorded by history.
Now these hitherto untold tales are finally being given their
spotlight on the silver screen, with an energy that promises
to invigorate cinematic Star Wars storytelling and expand the
horizons of what is possible in a Star Wars movie. These are
new standalone adventures with contained events. Though the
characters revealed in these stories may or may not have
ongoing adventures beyond this chapter of their lives, they
are nonetheless worthy of documentation and celebration.
This brings us to Rogue One: A Star Wars Story. Up until now,
the tale of how a crack team of rebel commandos was able
to steal the Death Star plans, paving the way to the battle
station’s historic defeat, has been the stuff of legend.
The story of Jyn Erso, Cassian Andor, K-2S0, Baze Malbus,
Chirrut Ímwe, and Bodhi Rook can finally be told.
And this book is your guide to that story.
GALACTIC MAP УШ ae
The territory ceded by the Separatists after their defeat *
in the Clone Wars spread the borders of Imperial space to
limits far beyond the boundaries of the Galactic Republic.
To police its expansive regions, the Empire
instituted unprecedented military buildupa
Much of the Imperial war machine is
housed in the Outer Rim, home
to the most lawless'sectors xd
and far from the Senate
or Coruscant. Ф or
]
E AA Se @ WORLDS IN CONFLICT
we za | A LAH'MU
A simple agrarian planet
with a small population of
settlers seeking to avoid the war,
the ringed world of Lah’mu
became the site of isolated yet
significant violence when Orson
Krennic of the Tarkin Initiative came
to collect fugitive scientist Galen Erso.
OVERVIEW
FOR YEARS, the Galactic Empire has ruled
the galaxy with an oppressive fist, curtailing
freedoms in the name of increased security.
Ever since the last embers of the Clone Wars
cooled, scattered resistance movements have
fanned the flames of rebellion, particularly
in the galaxy’s unruly Outer Rim.
JEDHA
Legend surrounds Jedha—an old
moon in a near-forgotten stretch
of space that had been explored
in times of antiquity. Some
speculate it is the origin point
of the Jedi Order itself. Devout
believers of all stripes agree
it is a spiritual hub.
An alliance has been forged between these rebel cells
and sympathetic senators in the insulated Core Worlds
who funnel them supplies and aid. Such acts of dissent
have not gone unnoticed by the Emperor, who readies
his ultimate solution for ensuring the galaxy bows down
to his rule: a battle station capable of destroying entire
worlds. The Empire develops this superweapon far from
the prying eyes of the Senate.
EXPANSION
REGIONS
ae EADU
3 A mountainous, secluded world
controlled by the Tarkin Initiative,
Eadu is the site of high-energy
conversion experiments and
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p rod йй BEEN Js IE AS ode N De Oe, ER BE o ¿Hee g?
£ / «T» e ж. | ; se, it . j Е ic \ lina high-tech construction. lt is here
$ 3 : Ў ; сап р that the puzzle of kyber crystal
¿Hur e hy У * a E. : hae ee, PU P 2Chandrila 20 Mustafar \ à zs У
: YADE v T NE. dg. ий ? a s : , Е 1e ; à 3 Alderaan 21 Bespin and Hoth en 3 weaponization is satisfactorily
S' o a. 3 QUOS > | q UE
а: Me
4 Kuat 22 Endor solved by Imperial scientists.
EZ] D : ME TE i iio > TA ا У 5 Corellia 23 Dantooine
wo \ ee > e e p = : LE S 6 Hosnian Prime 24 Lah'mu
т 1 na. cmo teri = à : pe d EE 7 Jakku 25 Dathomir NADIT
8 Onderon 26 Mandalore r SCARIF
9 Ring of Kafrene 27 Yavin 4 s The very heart of the Imperial
10 Takodana 28 Malachor military industrial complex, and
11 Jedha 29 Mon Cala the final créche that housed the
ү oe: 2 ED nascent Death Star, Scarif is a
14 Wobani 32 Nal Hutta d tropical paradise. Its tranquil
15 Naboo 33 Scarif ocean waters and island chains
16 Malastare 34 Tatooine and Geonosis seem at odds with the instruments
17 Sullust 35 Ryloth 5 of destruction developed there.
18 Dagobah 36 D'Qar
COUNTDOWN TO WAR Taxation dispute Chancellery of Finis A Separatist crisis Construction of Chancellor Scientist Galen Erso First proven Defection of cargo Rebel spaceships striking from
1 Д ргесіріќаќеѕ Valorum embroiled escalates, threatening Death Star begins | Palpatine declares joins active Death superlaser array ship pilot spurs Rebel their hidden base win first victory
The Empire ushered in nearly two decades E à b К 4 à А = y i Е Й Р à
blockade of Naboo in scandal to split the Republic over Geonosis ] himself Emperor Star development fitted onto Death Star Alliance into action against the evil Galactic Empire
of peace after the violent outburst of the
Clone Wars. For a time, a beleaguered galaxy
welcomed the sacrifices of freedoms in
exchange for the promises of security. But
gradually, more and more citizens are waking
Separatists’
Years before Rogue One Mission
up to the truly awful nature of the New Order. Popular Naboo Senator leadership escapes i
Political dissent is transforming into open — M Palpatine elected Military Clone Wars erupt with preliminary | The Clone Wars end with Death Star Senator Mon Mothma flees
hostility. A period of civil war is inevitable. & Supreme Chancellor Creation Act vote on Geonosis Death Star plans the Republic victorious moves to Scarif Chandrila, a branded traitor
A FRAGILE PEACE
It is six years since the end of the Clone Wars. The galaxy has
healed from that conflict, embracing the promise of tranquility
that comes with a strong, assured government. The banner of
the Galactic Empire spreads peace and security, but some are
wary of these changes. The vigilant seek escape—some for
political reasons, others for reasons far more personal.
Planet's
biosphere
transforms
iron into
chlorophyll
Silica rings formed from
remains of ancient
pulverized moon
DATA FILE
REGION Outer Rim Territories
DIAMETER 12,618 km (7,840 miles)
TERRAIN Plateaus, mountain peaks,
fertile lowlands, saline seas, black sand
beaches, geysers, and volcanic areas
MOONS 1 (not including ring material)
POPULATION Not recorded; estimated
less than 500
PEACEFUL SANCTUARY N SANCTUARY |
NAMED FROM A NEIMOIDIAN WORD meaning prosperity, Lah’mu
is fertile, but its bounty is decidedly non-exotic. Its resources
can be found on more accessible worlds, located closer to major
hyperspace routes. As such, the planet is unremarkable to those
driven by profit—making it a good place to hide. Sometime in
Lah'mu's early geographic life, its crust split and split again,
bringing minerals and soils to the surface, and setting it on 29 $
its path to becoming a place of verdant, tranquil farmlands. “HA
FEW NEIGHBORS SIMPLE LIVING ERSO HOMESTEAD FILTRATION NEEDED
Lah'mu is sparsely populated, with Scientist Galen Erso, hiding from the Consisting of 65 hectares, this Tephra ejected by volcanoes during
fewer than 500 settlers on the planet's Empire on Lah’mu’s less popular homestead was purchased through the formation of Lah’mu’s rings
western hemisphere. The Erso family eastern side, grew crops to subsist several fronts, facilitated һу Saw contaminates its greenery. Lah'mu's
did not relocate here to make friends. and had no interest in outland trade. Gerrera, for the Ersos to hide on. soils need careful sifting.
Fill-status |
telemeter aerial general
| | worker droid
Storage hopper
cistern cap
PURIFICATION VAPORATORS
In worlds with minimal water, vaporators
work to condense and filter moisture
from the air. The Lah'mu hydrosphere
is abundant, but the zinc, chlorine, iron,
cobalt, nitrogen, and boron content of
the soil makes the groundwater unpleasant
to drink. The Ersos use hardy Pretormin
Environmental GX-8 condenser units to
distill water vapor from the air. The chemical
content is condensed into a storage hopper,
where Galen and his droids collect and
reconstitute it to fill other needs.
NN N BRS: RER RER
CORUSCANT TIES
THE TIES BINDING the Ersos to Orson Krennic date
back to the Clone Wars, when Krennic came to
the Ersos' aid after they were caught behind enemy
lines, held captive on the Separatist-aligned planet
Vallt. Unknown to the Ersos at the time, Krennic was
manipulating circumstances to further indebt Galen
to him, drawing the scientist into his confidence.
He even went so far as to arrange living quarters for
the Ersos on Coruscant while Galen worked for him.
| YOUNG JYN ERSO
Four-year-old Jyn Erso is too young to know
the intricacies of court intrigue or capital
politics that pervade life on Coruscant.
She is playful and content to be near her
parents. Her health and happiness is what
is most important to Galen.
ИшИн НЫНЕ 7 LU ms
LYRA'S MISGIVINGS
Though grateful to Krennic for their liberation from the
Separatists, Lyra comes to realize that their life on Coruscant
is just a different type of prison. She is eager to flee Krennic's
observation, but security precautions established after the
Clone Wars prohibit unapproved travel from the capital.
COMPASSIONATE CONSCIENCE
LYRA ERSO
MANY YEARS. AGO, Lyra led a survey team
on the planet Espinar that discovered and mapped
ane tensive cave system promising a bounty of
re crystalline deposits. She met Galen Erso and
his pus as he led a field team that
) uncover any kyber crystals—the
area of Galen's expert t did ul imately prove fruitful
in one major regard: Galen and Lyr. | left Espinar together
and were married a year later.
Lyra moved on to live. pampered life on a secluded
estate on Coruscant, while her husband Galen researched
the deepest secrets: of ener ransformation. With Galen
so шогу |с оп his w wa Lyra who took
their expedition faile
Having fled to secluded
Lah'mu, Lyra found it hard to
relax her vigil. Her family's -
safety remained at stake.
JYN’S KYBER PENDANT
This small stone—a fragment of
kyber crystal from Galen Erso’s
research—caught Lyra’s eye as
the family fled Coruscant. She
took it to be a good omen and
passed it on to Jyn, who at the
time didn’t understand, but
knew it was a gift nonetheless.
Compressed
sleeping roll
inside canister
LYRA ERSO’S SURVIVAL
BACKPACK
— LYRN'S LAST WORDS TO HER DAUGHTER, JYN ERSO
BANEFUL INFLUENCE
Lyra never trusted Orson Krennic. She
doubted the silver-tongued officer’s words
of patriotic encouragement, offered to
Galen during his kyber crystal research.
SPIRITUAL CORE
Though Lyra never met a Jedi Knight,
she studied their history and philosophies,
even when the Galactic Empire frowned
upon such research. It is not known if she ever
made contact with the rumored Church of the
Force movement reputed to be growing in the
shadows of Coruscant, but she did at that time
don the scarlet vestments of the sects native
to Jedha—one of the last holy outposts
of Force knowledge in the galaxy. к к=
DATA FILE
SUBJECT Lyra Erso
PLANET OF BIRTH Aria Prime
SPECIES Human
AFFILIATION None; fugitive of the Empire
HEIGHT 1.70m (5ft 7in)
AGE 34 standard years (at time of death)
Homespun
sativa
plant-fiber robe
TIMELINE
ZEN Born on Aria Prime
ZED Studies at
: University of Rudrig
26. ENS Meets Galen Erso
: on Espinar
29 010 Marries Galen
22 ari Gives birth to Jyn
{ Erso on Vallt
WARIO Flees Coruscant
i with help of Saw
Gerrera
13 si Killed by Krennic
| Dedicated comlink
with coded channel
to family members
FAMILY-MINDED
Lyra’s extensive travels during her academic
_ days of geological study exposed her to a
political awakening. On distant worlds far from
the insulated core, she saw beyond the official,
sanitized accounts of the Clone Wars and the rise
of the Empire, and came to understand just how
* "ruthless the galactic government could be. Though
she tended to keep talk of politics away from
Galen, she harbored a deep suspicion of
the Empire. As her daughter grew up on
Coruscant, Lyra longed to whisk her and
Galen away. When Krennic caught up
: with Galen on Lah'mu, Lyra's
sacrificial attitude ensured Jyn's
survival, but not her own.
| Red sash of the
| enlightened
| Recessed
| sleeping Bunk |
Right: “Koodi,” Jyn's
toy tooka doll; left:
“Stormie,” toy trooper
doll (Koodi's best friend)
Environmental
control unit
Fight-year-old
Jyn packs up
her bedroom
ы ae:
=
С
IN THE LAST DECADES of the Republic, the Ministry
of Economic Development encouraged citizens to
venture into the Outer Rim with incentives of land
parcels for homesteads. The mismanaged effort
fizzled, with many worlds only sparsely settled or
outright abandoned. The bust of past generations SUBTERRANEAN DWELLING
s Most of the Erso’s homestead extends beneath the soil, where shunts
became a boon for those like the Ersos, who sought
$ plunging into geothermal vents provide power and heat. Galen built the
a world deemed to be safe but otherwise forgotten. convertors to draw all the energy his family needs from the natural setting.
Monocular
photoreceptor
with dual-
SUPPLY TANKS imaging plane
Galen Erso stores surplus
energy from his geothermal
tap in converted supply
tanks. He keeps most for
emergency use, but portions
some out to power outlying
moisture vaporators.
MASTER BEDROOM
Insulator drapes and chiller
bars help regulate the
temperature indoors and
in close, stark quarters.
Emergency contingencies
called for personal effects
to be abandoned. p" — Ss GALEN ERSO’S WATER Blissex-head
" : TESTING KIT AND BELT duplex bit
FAMILY KITCHEN Eo | | ‚ штег
The Ersos’ modular kitchen я |
features sturdy units to ; я. j 1
store dry goods and keep le B as Eh i SE-2 “ESSIE” WORKER DROID
out vermin and insects. | cUm d bee, dy HUE | Autilitarian menial labor droid,
Home comforts go some way E : à eM ee T Essie nonetheless has a very
to offset the uncertainties ; s r li s i КЕ d pronounced loyalty subroutine.
of frontier living. j 7 d : j He keeps an eye on the horizon
GALEN ERSO’S TOOL ROLL for any intruders.
А " ls
FAMILY GLUNKER
ОШ This battered Gian V-44 has seen better days. Its
2 не repulsorcoils have corroded long past any reliability
Grime-coated E E
ind {зїї and it is usually mounted on blocks or struts to keep
кже кады it from sinking into the soil. Galen keeps the speeder
around in order to salvage its conductor strips.
Non-operational
directional
thruster
THE GALAXY may be turning itself inside out
with war and political upheaval, but children
will always be children. Jyn Erso was born in
the first year of the Clone Wars, when the
Republic was wracked by the first full-scale war
in a thousand years. She was spared the worst
of the violence from the protective efforts of
her parents, who made sure wartime shortages
never affected their infant girl. As Jyn matured,
her imagination grew as well. While her parents = э,
dealt with the grim adult matters of the growing ; A
Empire, young Jyn embarked upon flights of u ox
fancy fueled by a full toy box.
~ HOMEMADE
ASTROMECH DROID
HOMEMADE
ALDERAAN CRUISER
“ABOMMY
THE GIG”
HOMEMADE
TIE FIGHTER
“STORMIE” =
HOMEMADE JEDI FIGHTER
6, J^ WITH HYPERSPACE RING
“OPEE OPEE” “WUZZWORK”
АР р 98, 27 АР АР АР АР АР А” ЭУ АР АР АУ АР АР АР АУ АР ДУ АР ДУ BP ДУР АР EG ДУ A
" THE SHAAK
HOMEMADE SEPARATIST PP" HOMEMADE IMPERIAL "MR. IGGY" “BAD MISTER GOOB”
DREADNAUGHT STAR DESTROYER
A
)
uf
¿e
“TINTA” THE
SNOW LIZARD
“STARRIE”
THETOOKA
` HOMEMADE
ARC-170 FIGHTER =
“LUCKY HAZZ OBLOOBITT” HOMEMADE JEDI CRUISER
“KOODIE” THE TOOK
SHUTTLE
WITH ITS STARKLY GEOMETRIC hull shape
and folding, batlike wings, an approaching
Delta-class T-3c shuttle is an ominous sight.
The sense of dread it inspires proves warranted
when it lands and deploys its deadly passengers.
The Delta-class did not see much use in the early
days of the Empire, being outpaced in popularity
by the more versatile Lambda-class. But Krennic’s
eye for bold architecture favored the design and
he has kept one in active use for over a decade.
TROOP CABIN
Unlike other long-range Imperial
craft, Krennic’s shuttle has
few onboard amenities. The
half-dozen death troopers
typically transported as
Krennic’s personal guard are
hardened soldiers. Simple
crash seats and storage straps
offer little, or no, comfort.
MULTIFUNCTIONAL WINGS
Like other vessels in the Sienar Fleet Systems and
Cygnus shuttle program, the Delta-class features an
articulated wing design. The folding lateral wings
reduce the vessel's hangar and landing pad (at A
x Кы
footprint when stowed, and add atmospheric F
stability and deflector shield transmission РА
planes when deployed. To maintain
contact with Imperial command during
deep space flights, the huge wings
contain HoloNet and subspace
transmitter antennae, as well as
power boosters. Each wingtip
also features a defensive
laser cannon and active
sensor nodes.
MANUFACTURER Sienar Fleet Systems
AFFILIATION Galactic Empire
HEIGHT 25.1m (82ft 4in) with wings upright
LENGTH 14.39m (47ft 2in)
MODEL Delta-class T-3c shuttle
CREW 2, plus 15 passengers
ATMOSPHERIC SPEED 970kph (603mph)
WEAPONS 2 twin laser cannons;
3 wingtip laser cannons
foo ү —-
v Forward
navigational
IB deflector grid and
| running lights
E
ICs d. at “ч )
La)
| Taim & Bak KX9 |
paired laser |
cannon
Starboard
stabilizer foil
EXECUTIVE LANDING
Krennic’s distinctive shuttle
broadcasts security clearances
hat allows it entry at otherwise
restricted landing ports.
Krennic’s pilots do not offer
hailing signals, regardless of
protocols or courtesy. Instead,
the automated transponder
passes along everything a
istener would need to know:
that shuttle ST 149 is on Tarkin
nitiative business, with an
mperial advanced weapons
director aboard.
LANDING CONFIGURATION
A quartet of landing gears deploys
as the shuttle’s wings fold up into
stowed configuration. The central
ramp hisses down, allowing
access to the pyramidal
primary hull. The compact
shuttle has little interior
space—much of its volume
is taken up by fuel supply |
and power plant. i
| Sloped hull, skin | 1
| composite, and $
| engine configuration | }
optimized for | 4
stealth operations |
[
l
EE 2.
Central A
stabilizer foil xs
(
| Primary sensor and
communications
transmission core
SII
Fr
IMPERIAL MOMENTUM
Focused on the job at hand, Krennic
and his aide, Captain Pterro, storm
out of the angular craft, seemingly
continuing the momentum
of the ship’s forward approach. A busy
man on the eve of the Death Star’s
unveiling, Krennic is not one to dawdle.
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E SOLDIERS OF THE EMPIRE
ENCASED IN SPECIALIZED stormtrooper armor
that shines with an ominous gleam, the death
troopers comprise an elite unit created to
defend the most important operations and
Operatives within the Imperial military hierarchy.
Recruited by Imperial Intelligence, these
troopers form protection squadrons of
bodyguards and enforcers for the leadership
of the Tarkin Initiative and key fleet officials.
Early on in his rule, the Emperor
demonstrated a keen grasp of the
importance of symbols—recasting
ancient icons of strength and unity
from the Republic and other
cultures in a new and powerful
Imperial light. As such, the name
of the death trooper stems from
a rumored project from the
Advanced Weapons Research
division, designed to animate
necrotic flesh. Though the troopers
do not appear to be derived from
this scheme, the use of the name gives them a macabre
reputation among the Imperial ranks. Their black armor
makes their appearance all the more deathly.
Death troopers usually
operate in small groups,
exhibiting a great degree
of cross-training and
skill specialization.
Death trooper candidates
must meet rigid physical
and ideological standards
to һе elevated to this
rarified class. Classified
medical procedures
further augment their
abilities and make them
somewhat beyond human.
KRENNIC’S BODYGUARD
Death troopers guard officers within the /
Tarkin Initiative—the secret think tank
within the Advanced Weapons Research
division responsible for the development
of the Death Star. Director Orson Krennic
is rarely seen without them at his side.
Neuro-saav
macromotion
monitor
| DRESSED TO KILL
N Е d Death trooper armor has a base
y.
of plastoid coated with a newly
SENSORY SYSTEMS
Death trooper gear is an improvement on
mass-produced stormtrooper kit. More
sophisticated sensing apparatus keeps
troopers in total situational awareness
of combat arenas, allies, and enemies.
developed spray polymer called
reflec, which warps the most
common electromagnetic signals
used in passive sensor arrays. This
makes troopers harder to detect and
well suited for stealth operations.
BLASTECH
E-11D
SCARIF DEFENSE
During the incursion of the Scarif
Citadel, Krennic orders a contingent of
his personal guard to clear the beach.
The arrival of the elite death troopers #
on a specialized carrier craft
escalates the intensity of the battle.
| Integrated multi- ;
frequency targeting p, aE | Select candidates id excel at stormtrooper training are
and acquisition di ч = Y p reassigned to an advanced death trooper training camp on
| BEIGE | ; ` . Death trooper physical requirements include height
nd weight standards that exceed typical trooper averages.
Rigorous training in exotic environs produces stronger,
ster, and more resilient soldiers than the norm.
active we emitters
| IM-40 three-siot
ammunition and
| tool pouch.
| MERR-SONN MUNITIONS
FRAGMENTATION GRENADE l1 1
The C-25 fragmentation $ '
grenade consists of а f
sphere of baradium-
impregnated detonite
encased in a conductive
shell. The shell itself is
| housed within a cylinder—
| activated with a twist.
| Featureless
| pauldron denotes
Specialist status
when seen through
| trooper visor
== a
—
| Environmentally E
sealed bodysuit |
BlasTech
| SE-14r light
repeating
blaster pistol
Compressed
haradium thermal
detonator
ا шна m
SUBJECT DT- 5537
HOMEWORLD Classified -
AFFILIATION Imperial Advance Weapon
Development; Unit TI-23 “The Undying”
_ HEIGHT 1. 96m (6ft 5in)
` PROFICIENCIES De improvised
weaponry, guerilla tactics
PEACE DISRUPTED
THE TRANQUILITY of life on Lah’mu was not to last. Not even
a brilliant man like Galen Erso can outrun a past tainted by
the monstrous dreams of Orson Krennic. For years, Krennic
has stood at the brink of success as his Death Star creeps
ever closer to completion. However, the vital kyber crystal
energy transformation sequence cannot be cracked by a
lesser mind than Galen Erso’s. Krennic needs the fugitive
scientist and will not take no for an answer.
Aka
о MS
RS
R?
ES,
Beam
FX
pec
—
ge
aeuum
C
J
REBEL ALLIANCE
A tempestuous union of star systems has declared itself opposed
to Emperor Palpatine's New Order. This fragile Alliance has begun
the great fight to restore the Galactic Republic, through whatever
channels necessary. Outnumbered and not always aligned, these
idealists need to come together in the growing darkness to
cast a light of hope across the galaxy.
ROGUE TURNED REBEL
JYN ERSO
IK. TANITH PONTA. KESTREL DAWN.
: A cloud of aliases surrounds Jyn Erso, to the
| extent that hearing her true name for the first
a renowned scientist
circumstances. When
nder mysterious
g Galen to a secret
ce E —JYN ERSO
AUTHORITY ISSUES
Standing before Alliance
dignitaries like Mon Mothma
CAUGHT UP IN CONFLICT
Jyn’s icy attitude melts
away upon witnessing the
unthinkable plans of the
Empire. She entreats
the Alliance leadership for
support but is met with
frustrating skepticism and
maddening indecision.
Cold weather survival gear
features waterproof insulation
FROM REFUGEE T0 SOLDIER
Born at the start of the Clone Wars, Jyn spent
her early years on the move with her parents,
Lyra and Galen, dodging galactic conflict.
Her father’s enlistment in Imperial scientific
research transplanted the whole family to
Coruscant, but his crisis of conscience led
them to flee Imperial attention—an exit
facilitated by Saw Gerrera. It was Saw who
rescued Jyn when she was seemingly
orphaned on rural Lah’mu, and
she became a child soldier in his
private war against the Empire.
[THE LUXURY OF |
FENDING FOR HERSELF
Jyn Erso's time with Saw Gerrera's rebels taught her
a range of survival skills. She became a tough
hand-to-hand combatant, excelling with improvised
weapons and favoring paired sturdy truncheons—
effective even against stormtroopers.
REBEL ALLIANCE’S
REPORT ON JYN ERSO
SUBJECT Jyn Erso
| | Born on Vallt
| PLANET OF BIRTH Vallt |
19 вв Erso family move
SPECIES Human i оү _ to Coruscant
AFFILIATION Formerly part of Saw
Gerrera's insurgents
> Erso family
escape to Lah’mu
| HEIGHT 1.60m (5ft 3in) rM E hy
e —— сааш aw Gerrera
AGE 21 standard years
Simple style
emphasizes
: Y utility inn
pe 2 Ов Јуп freed from
| HAND COMLINK д. à i Wobani by rebels |
' Јуп carries a battered ener
but functional Crozo 2-MAL
personal comlink—a
cheap, simple, and
effective communications
device commonly used
E by the rebels.
ID Jynonherown: |
abandoned by Saw |
Insulated
mechanic's
vest
SAW'S STUDENT
From the ages of eight to sixteen,
Jyn remained a soldier in Saw
Gerrera's roving band of
insurgents—a group of rebels
originating on Onderon who fought
so dirty that their actions were
disowned by the core Rebel
Alliance leadership. Jyn found
connection with the hardened
warriors, but after a crippling
setback suffered by the group,
Saw abandoned Jyn, leaving the
teenager on her own once again.
These losses have left her with
little capacity to trust anybody.
Nondescript
worker's tunic
STOLEN BLASTER S я
2 А Д | CLASS ONE INFRACTION
Stripped of weaponry pee: IR 1 ё А
еа 5 : | Aggravated assault against Imperial
when imprisoned, é 3 ea
я x | military personnel; escape from custody.
resourceful Jyn wastes Я : SS aia d i
no time in lifting an SIC: | CLASS TWO INFRACTION
unattended BlasTech A-180 j | Possession of unsanctioned weapons;
to equip herself for the forgery of Imperial documents;
mission that lies ahead. | resisting arrest.
JYN'S MISSION
THE RESURFACING OF GALEN ERSO’S NAME in connection
to Imperial weapons development has sent Rebel Alliance
Intelligence scrambling. An Imperial defector seeking out
Saw Gerrera spoke of a “planet-killer” developed by Erso.
Jyn is the thread connecting these fragments of alarming
information. Though the Alliance leadership knows of Saw’s
whereabouts, relations between Mon Mothma’s faction and
Gerrera have been irreparably damaged by Saw’s violent
tactics. The Alliance looks to Jyn to help reach Saw.
PRISON TRANSFER
Jyn Erso’s last brush with Imperial authorities landed her in a prison
labor camp on the harsh, stony world of Wobani. A rebel SpecForce
interception team ambushed a lone HCVw A9 turbo tank transporting
a hold of prisoners to a work detail. Unshackled by Alliance Sergeant
Ruescott Melshi, Jyn immediately bolted for freedom, to be finally
stopped and taken into Alliance custody by the droid K-2S0.
|
К
DRAVEN'S DETERMINATION
As the leading Intelligence officer on Yavin 4, General Draven
is responsible for piecing together the puzzle of Galen Erso.
He fully believes the Empire capable of devising an unthinkable
superweapon, and knows that now is not the time for hesitation.
He grows impatient with Jyn Erso’s impudence but trusts Cassian
Andor to keep her in line and proceed with the mission—dubbed
Operation Fracture by Draven—to find Galen Erso.
Wetyin
continental
mass
The Massassi
site
DATA FILE
REGION Outer Rim Territories
DIAMETER 10,200 km (6,338 miles)
TERRAIN Jungle, rain forest
MOONS Yavin 4 is one of 26 moons
orbiting Yavin
POPULATION No permanent settlements
Starloft
continental
mass
___BASEONE — НН
YAVIN 4
AFTER REBEL ALLIANCE HIGH COMMAND abandoned its older
base on Dantooine, it chose a jungle moon devoid of intelligent
life for its next headquarters. Huge, crumbling edifices
serve as evidence of past civilization. The Massassi site,
a clustering of megalithic temples, houses the rebels under
Mon Mothma, Bail Organa, and Jan Dodonna’s command. It is
from Yavin 4 that the rebels launch an assault that results in
its first victory against the Empire in the Galactic Civil War.
THE GREAT TEMPLE
The enormous Great Temple, the largest of the
monuments in the Massassi site, houses the rebel base.
Its sprawling interior has been transformed into a launch
bay for the rebels’ fleet of X-, Y-, and U-wing starfighters.
Utility cables, plumbing, internal lighting, and other
technology is roughly fastened in place to turn the
ancient edifice into a workable—yet temporary—outpost.
AX
Rebel astromech droid
R2-BHD on hand to
| assist in repair work
SQUADRON BASE
Active and reserve pilots from
Gold, Blue, Green, and Red Squadron
comprise the majority of the
personnel at the Massassi outpost.
READY TO LAUNCH
The enormous entrance of the Great
Temple allows for easy egress of
starfighters from the deeper
maintenance areas.
Incom T-65 X-wing
fighter receives
technical attention
the weight distribution
on landing gear
COMMAND CENTER
Banks of tactical and communications
systems fill Base One’s command
center. From here, officers monitor
and direct distant missions.
SENTRY POST
Most of Yavin 4 remains unexplored.
Lonely rebel sentries on top of
watchtowers keep vigil for any
approaching dangers.
VISION OF HOPE
Senators Mothma and
Organa found ways
to use the Senate to
surreptitiously supply
the burgeoning Rebellion.
They had to tread
carefully as the Senate
was rife with spies from
the Imperial Security
Bureau. If discovered,
their actions would lead
to accusations of treason.
“WE NEED TO STOP THIS
— MON MOTHMA, TO JYN ERSO
_ .
2
ms
^
a
den
x —
nn
m
o
eri
BS
N
nn
Mon Mothma directly recruits Jyn Erso to
contact Saw Gerrera in the hope that the
7 Rebellion can bring his evidence of Imperial
7 superweapon development to the Senate.
GALAXY'S MOST WANTED
After escalating outrages committed by
the Imperial military left her no choice,
Mon Mothma spoke out publicly and
directly addressed Emperor Palpatine as a
“lying executioner” in a widely broadcast
HoloNet proclamation. Such treason
immediately rocketed Mothma to the top of
the Empire's “Most Wanted” list, and she
fled Coruscant—resigning her seat in the
Imperial Senate. It was this declaration of
rebellion that gave rise to the formal
Alliance to Restore the Republic.
Draped
fibercord livery
collar
Chandrilan
medal of
freedom
ance fleet.
' even though
Short Naylian-style
haircut
DA
SUBJECT Mon Mothma
PLANET OF BIRTH Chandrila
SPECIES Human |
AFFILIATION Leader of the Rebel Alliance
HEIGHT 1.73m (5ft 8in) | |
AGE 46 standard years
E Simple robe
complexion and stern countenance, Raddus has
the unenviable task of staring down the might
of the Imperial Starfleet and not blinking.
Raddus is in command of the fledgling Alliance
‘fleet, an asset Mon Mothma has described as
the most vital :omponent of the growing rebel
military. The ebe council predicts that if there
is to be a decisive victory against the Empire, MEE
= it will be won hy W ips in space. staff of Mon Calamari aides—
Caitken and Shollan—who snap to
nization like the Rebel his orders with bustling efficiency.
Alliance, its fleet consist 0 a motley assortment of
ships—Hammerhe | con > Dornean gunships, MON GALA OF ACTION
Raddus is pragmatic—an
outlook developed in the dark and
cold depths of his home ocean. He
leaves it to others to wax lyrical about
freedom, justice, and other matters of
philosophy that drive the Alliance to
action. He is especially impatient with
the dithering of the rebel council and
onverted for war by nU considers any attempt at negotiation with
Г. r from Imperial naval oe the Empire to be a fool’s dream.
Alderaanian cruisers
— ADMIRAL RADDUS
STARFIGHTER SUPPORT
Although the Rebellion has primarily focused its resources on powerful
starfighters, its capital warship fleet demands attention. Once ready, these
carrier craft will bring fighters into action, increasing their operational
range and reducing the risk of bases such as Yavin 4 being discovered.
Dense flesh acts as
insulator to protect
ocular circulation
FROM THE DEPTHS
Raddus and his school of Mon
Calamari fleet officers hail from the
depths of the colder polar regions of
his watery homeworld. Theirs is a
hardy breed whose blood is said to
run thicker than that of their more colorful
neighbors from the tropics. This is a
reputation Raddus is only too happy
to let spread—he is not one to
pepper interactions with social
pleasantries—for the
Empire has made the grave
error of underestimating
the Mon Calamari and
it would not do to have
those on the rebel council
repeat the same mistake.
Fleet flagship
service uniform
jerkin
Chromatosphoric
Skin aids
camouflage
Sealed and
coded datapad
with mission
orders
SUBJECT Raddus
| PLANET OF BIRTH Mon Cala
SPECIES Mon Calamari
STATUS Admiral of the Rebel -
| Alliance Fleet
HEIGHT 1.90m (6ft 3in) -
AGE 65 standard years
Civic crest marks
past role іп
planetary defense
ALLIANCE INTELLIGENCE
GENERAL DRAVEN
STRAINED TEAMWORK
IT FALLS TO DAVITS DRAVEN to represent Sen Мейо на Ци
raven is too pragmatic апа
Alliance — on the rebel council ang
thus likely to forget the human
variables when making his cold
calculations. As an Intelligence
chief, Draven does command
a staff, but those who repor
directly to him are normally lone
operators. In contrast, Merrick’s
squadrons of pilots commi
themselves to cooperation
and unit cohesion.
in the Republic’s
exposure to the Jedi
= GENERAL DRAVEN TO CAPTAIN CASSIAN ANDOR
SILENT WARRIOR
In this era before open warfare, the Rebellion
relies on surgical strikes that remain largely
unseen. Sabotage, thefts, and assassinations
yield unglamorous victories denied by
both the rebels and the Empire. Draven
knows the necessity of such missions
and does not carry them out for
recognition or praise but because
he knows that he is capable.
Imperial military. This
authoritative views с
men and women
DISASTROUS DISPATCH
Worried about Erso’s destructive genius,
Draven's pragmatic views often bring — : i RS Draven dispatches a squadron of starfighters
a halt to rebel council debates, as his : \ to assassinate him оп Eadu. Draven tries
with them a s i to recall the fighters when it is evident this
puts at risk the rebel squad carrying out
Operation Fracture, but by then it is too late.
Close-cropped
hair per Republic
military standards
WEIGHING THE RISKS Ti
Alliance Intelligence must constantly
be on alert for Imperial actions designed м
to draw out the Rebellion. Reports of the
Death Star are too outrageous to ignore, !
and to some seem like a tailor-made trap.
Some in the rebel council believe it is
a ploy by the Empire to amass the rebel
fleet into a single target. Draven weighs the
likelihood of such a scenario. As unthinkable
as the Death Star is, his firsthand experience
with Imperial megalomania makes him
believe it to be all too plausible.
Rank badge with
pip arrangement
indicating status
as general
Pocket holding
encrypted
datacards
DATA FILE
SUBJECT Davits Draven
PLANET OF BIRTH Pendarr Ill
SPECIES Human
AFFILIATION Rebel Alliance, Alliance Intelligence
HEIGHT 1.91m (6ft 3in)
AGE 45 standard years
Water-repellent,
heat-retaining
fabric
ce flight leader of
se force known as
Cavalry of Virujansi.
planet underwent
mation with the
mperial governor
uling Virujansi
у forces
As part of the rebel
council, Merrick has a
voice in the direction
. of the Rebellion in
D these pivotal da
UNCERTAIN FUTURE
Merrick carefully weighs the words of Jyn Erso
when she brings news—but lack of proof—of
a potential vulnerability in the Empire's new
weapon, the Death Star battle station.
GUARDIAN GENERAL
Merrick feels particularly protective of the
U-wing pilots under his command. They bear
extra responsibility in combat operations,
ferrying infantry to and from battle zones. It is
by the skill of the pilot that all those aboard will
survive. U-wing pilots do not bask in glory like
hotshot fighter pilots known for daring
maneuvers—they simply can't take such
risks with others’ lives.
FIGHTER COMMAND
On rare occasions when the
entire wing of starfighters
stationed at the Massassi
outpost is scrambled, Merrick
has authority over other
squadron leaders such as
Garven Dries (Red Leader) and
Dutch Vander (Gold Leader).
In Merrick’s absence, or when
operational authority is better
served from a ground-based
dispatch such as Base One,
General Jan Dodonna
commands the fighters.
: difference. The Rebellion simply does
: not have m resources to raise a fleet of
FLIGHT HELMET
The Rebel Alliance favors
surplus Koensayr K-22995
helmets for its starfighter
pilots because of their ease
of acquisition and replication
as well as sturdy design.
AFFILIATION I Massassi Outpost туц
Novaldex
Diagnostech life
support unit
Atmosphere
exchange hose
and integrated
controls
conduit
Merrick
PLANET OF BIRTH Virujansi
SPECIES Human
Blue Squadron
HEIGHT 1. 82m on
AGE 46 standard years
Thermal tubing
for exposed high
atmospheric
operations
i Identification,
sealed orders, and
passage-documents-
dedicated datapad
Guidenhauser
ejection
harness
REBEL COUNCIL
THE REBEL CELLS amassed in the Massassi
outpost have combined to form the core of
Alliance High Command. Despite Imperial
claims to the contrary, the expanding Alliance
‘masterminded by Mon Mothma and Bail Organa
is in actuality quite structured. In addition to a
civil government component, its military units
conform to an established hierarchy. Some
outlier rebel cells are more improvised than
the Yavin group, but the Massassi outpost is
a model of command efficiency.
|
The upper command staff of
Y liance military are known
25 the rebel council in common
parlance and also include a
-civilian component of senators.
- Alliance High Command meetings
can be intense, charged affairs,
particularly in these testing times.
E Hi | -profile strikes against.
|. Imperial targets on Lothal, Garel,
_ and Ord Biniir have emboldened the
А Alliance, , but none of these actions
have constituted a victory that
proves to all the potency of their =
. Word of an Imperial
- superweapon project splits
the rebel council over their
next course of action.
firmly that their objective isa negotiated peace with the
Empire, in which Palpatine would relinquish the wartime
General Draven, head of
Alliance Intelligence at Yavin,
nows what the Empire is
apable of and recommends:
Bod mmediate evacuation.
Rebellion. Some in the Alliance state
ALLIANGE HIGH COMMAND
REBEL INSIGNIA
The Alliance inherits the
Alderaanian standard of
five pips arranged on a
brushed-metal backing
to denote rank.
General
Colonel
Commander
Major
Captain
Lieutenant
GENERAL PITT ONORAN
Onoran heads up
the Yavin 4 Special
Forces division.
He earned valuable
experience as a
logistics officer
in the Republic
army during the
Clone Wars.
COLONEL HAXEN DELTO
Delto oversees the
specialists who scour
HoloNet and subspace
transmissions for
patterns and packets
of usable intelligence.
His methodical
approach stands
all in good stead.
COLONEL BANDWIN COR
While General Merrick oversees Alliance
Starfighter Command, he defers to Colonel
Cor for day-to-day decisions. Cor liaises
closely with General Dodonna for the
most efficient utilization of
fighter resources in the Gordian
Reach—the area of space that
encompasses Yavin. By
agreement with Merrick, Cor
fills his role dispassionately,
pragmatically treating
the fighter resources as
assets on a ledger.
Plate-style
clasp buckle
Tan jacket is part of
traditional Alderaanian
military livery
en une rn
COLONEL ANJ ZAVOR
The Yavin 4 liaison to
Admiral Raddus, Colonel
Anj Zavor works as part
of Fleet Command.
Zavor keeps a channel
of communication
open between
the base and the
ever-mobile admiral.
GENERAL BACCAM GRAFIS
Grafis heads up Ordnance
and Supply—the
procurement of
essential materiel
for the Rebellion.
He pursues lines
of supply for
starship-grade
fuel and weaponry.
GENERAL DUSTIL FORELL
Forell oversees Support
Services, a division
dedicated to the Alliance’s
anemic transportation
network. On Yavin 4,
this encompasses less
than a dozen medium
transports, and one
military-converted
light freighter.
MAJOR CAPIN HARINAR
Part of General Draven's
Alliance Intelligence staff,
materials analyst
Harinar examines
captured Imperial
technology to assess
the capabilities of
the enemy and plan
countermeasures.
GENERAL JAN
DODONNA
As the Sector Command
officer for the Yavin-based
rebels, General Dodonna is
an important voice on the rebel
council. Now a veteran officer,
Dodonna was a bridge officer
aboard a Venator-class Star
Destroyer in the Clone Wars.
He continued his service into
the earliest days of the Imperial
Starfleet before disillusionment
with the Empire led him to defect.
Wearing a tactician's
overcoat is an
Alderaanian custom
REBEL COUNCIL
REBEL SENATORS
THE REBEL ALLIANCE HIERARCHY consists
of two main bodies: the military and the civil
government. The existence of a governmental
apparatus within the Rebellion is indicative
of its ultimate aim: to restore the Republic
and the Galactic Senate as instruments of
egalitarian | and democratic rule. Arranged
beneath Mon lothma, the titular chief of
SENATOR JEBEL
Senator Nower Jebel of Uyter is the Minister of
Finance in the Alliance Cabinet. Jebel believes
a negotiated peace settlement is possible,
and the time for violence may be at an end.
He has faith in the power of the Senate
to be an instrument of diplomacy and
is disdainful of the lean toward open
hostility. He vividly remembers
the violence unleashed by Saw
Gerrera—strikes that claimed the
lives of innocent bystanders.
state of the Alliance Civil Government, is the ls nalis ре се cannot be
Cabinet—a collection of six allied ministers stained by the blood of the
with specific areas of responsibility.
innocent, he expounds,
but he has offered little
> to prove his conviction
- The rebel council is a mix of military that the Empire
and civic [en representatives. would be willing to
Te ee compromise and risks
becoming closed-
minded to other
greement are both encouraged in points of view.
model of democratic governance.
Bail Organa has been . : :
Р "forum leads to deadlock. Mon Mothma
secretly orchestrating E
- organized rebellion is wary about wielding too much
againstthe Empirefor executive power, as that is the very
years. Alderaan is a major “embodiment of their sworn enemy, the
E. Empire. ho igh no longer a rember
-of the Senate, Mon Mothma in communication with
her allies there, and RU or the Rebellion continue _ Gaberwool
: 'row. It is now | ; cloak of office
Upon learning of the
Death Star threat,
Senator Vaspar
recommends scattering
the Alliance fleet and
going into hiding.
SENATOR VASPAR
Vasp Vaspar serves as senator
of the Taldot sector and as the
Alliance’s Minister of Industry,
overseeing the fledgling Rebellion’s
meager yet vital resources.
This role leads him to be far
more risk-averse than some
of his fellow councillors, but,
unlike Senator Jebel, he is
not opposed to conflict.
Vaspar believes hostility
should be careful
rationed, and that a
march to open warfare
is unsustainable for
a credit-strapped
Rebellion. Vaspar
does believe the
Empire capable
of creating a
Death Star, but he
agrees with Jebel
that to attack it
is unthinkable.
Red lining
denotes the
Battle of
Balamak
BAIL ORGANA
Bail Organa of Alderaan has been wary of
the executive power wielded by Palpatine
since before the start of the Clone Wars.
During that conflict, Organa—then senator
of Alderaan—had been building a network
of like-minded politicians and influencers
who would meet at his estate on Coruscant.
The resulting Delegation of the 2,000
formally objected to Palpatine’s
wartime overreach, but was met with
the transformation of the Republic
into the Empire at war’s end. As the
Senate’s influence dwindled, Bail
walked a razor's edge as he and
then his successor, his daughter
Leia Organa, continued to use
Alderaan's popular voice to
champion the downtrodden
and investigate reports of
Imperial abuse. In secret,
Alderaan has funded, armed,
and equipped the Rebellion
at Bail's command.
SENATOR PAMLO
Senator Tynnra Pamlo of Taris is stirred by
whispers of the Death Star. As Minister of
Education, she liaises closely with Alliance
Intelligence and has been exposed to
evidence of the Empire's worst atrocities,
including actions on Ghorman, Geonosis,
and Lasan. Pamlo has no doubt the Death
Star is real and that the Empire intends to
use it, but she wishes to first consult
with her people. She knows that to
launch an attack against the Empire
risks putting her homeworld
in the crosshairs of a
planet-killer.
Tarisian amulet
of the Robb
ALLIANCE INTELLIGENCE
CASSIAN ANDOR
SECURITY BYPASS
Cassian's years of law-bending have honed
his escapology skills. With a compact
security kit hidden in his boot, he cycles
past the simple electronics of the locks in
Saw Gerrera’s underground prison on Jedha.
SECURITY KIT i ё |
IN SENSOR-
BAFFLING
WALLET
AN ACCOM ISHE me intelligence officer
e n a kea
mand nd the carrying
wenties, Andor
ilds of the Outer
f age fighting against
ALLEY ALLIES
In the hivelike urban enclaves on the Ring of
гу academy during a Kafrene, Captain Andor has a rendezvous with
һе expansion of Tivik, an unscrupulous source of information
- the Rebel Alliance needs. The congested
capable of the worst crim > cityscape makes it easy for spies to disappear,
against civilization, sowh © Ss but also hosts stormtrooper patrols.
Weatherproof
directional fabric
^ sheds water
BlasTech
A280-CFE in sniper
configuration
THE HARD CALLS
The fledgling Rebel Alliance relies
heavily on covert operatives to
stymie Imperial operations. These
strikes are discreet and targeted.
Acts of sabotage, espionage, and
even assassinations fill Andor’s casefile.
Knowing from experience the efficacy of
Imperial interrogation, Andor respects the
Jyn Erso’s defiant
nature leads to prickly
moments with Cassian need for secrets to be kept from field
when the two rebels agents. He remains active to stave off
pose as pilgrims ; the downtime that would plunge him
visiting occupied Jedha. into deeper reflection on some of
his most extreme assignments.
INTELLIGE NC : OPERATIVE
Cassian has spent most of his career
in Alliance Intelligence working for the
Operations department—a dangerous
posting that places agents directly in 79 е ==
contact with the Empire. Statistics place the E 1 SPECIES Human EN
odds of an agent surviving 20 field missions at AFFILIATION Rebel Alliance, Massassi unit
23 percent—roughly four-to-one odds against. E^ MP UM E
Intelligence command has recently shifted Andor
to the Retrieval department, where his mandate is to
plan the operation to free Jyn Erso from prison and
lead the search for Saw Gerrera and Galen Erso.
HEIGHT 1 78m өп 10in)
AGE 26 standard years
: Personal identifier
Pips denote rank of à transponder
Captain; color indicates ‘ ` conceals “lullaby”
Army service suicide pill
WILLIX Government agent
on | Ord Mantell
AACH Senatorial contact
on Darknell
` JORETH SWARD Assistant t to
Imperial Admiral Grendreef
Corellian-cut
field jacket
FULCRUM Recruitment agent
in Albarrio sector
Compressed eleton
blaster gas
ampules
MULTIFUNCTIONAL WEAPON
Cassian’s BlasTech A280-CFE
(covert field edition) features
modular construction that
allows a core pistol to be
reconfigured into a sniper
or assault rifle.
Military
fatigues
A NEW PARTNERSHIP
Cassian's spy experience makes him
instinctively wary of Jyn and her checkered
history. Meanwhile, years of surviving in
the galaxy’s toughest spots have made
Jyn distrustful of everyone. For Operation
Fracture to succeed, they'll need to
overcome these self-built boundaries.
BLO RH А
THOUGH NOW LOYAL to the Alliance,
reprogrammed Imperial security droid K-250
can be an alarming sight to fellow rebels
when standing within their base on Yavin 4.
Fear of combat droids—stoked by memories
of the Clone Wars—runs deep, and the notion
of such a droid operating uninhibitedly can
unsettle many. However, the pragmatic К-250
is an effective insertion agent, blending in
perfectly at Imperial installations and outposts.
When the Senate rolled out a
mandate prohibiting the creation of
battle droids, Arakyd Industries was
able to curtail these restrictions by
classifying the KX-series strictly as
security droids. Their programming
included built-in exceptions to the
usual hard-coded restriction against
кл. шшш, КШ harming organics, and defaults
with the data architecture of {0 recognize and defer to Imperial
Imperial computer networks military personnel ranked
and can navigate restricted |jeutenant or higher.
ее It was Cassian Andor who
undertook the difficult task of reformatting K-2S0's
personality. His work has eliminated most of Arakyd
Industries’ presets, with one notable side effect: K-250
is bluntly honest in all his assessments, even when such
stark observations are not welcome.
Upon arriving on Jedha, Captain
Andor orders K-2S0 to stay out of
sight for fear of drawing insurgent
attention. K-2S0 is less than
impressed by this instruction.
SWIFT RESPONDER
Arakyd engineers pride
themselves in the anatomical
structure boasted by their
KX-series. Although K-2SO's
proportions are exaggerated
beyond the human norm,
his body and limbs are precision-
engineered to give him the
mobility of a human athlete.
Complex gyro-balance
systems keep him upright
when running briskly and
changing direction.
Articular ring
joint and
servo-driver
Comm package
—K-2S0, ON FIRST MEETING JYN ERSO
Recharge port
IMPERIAL CONNECTIONS
K-2SO has a built-in communications
booster that allows him to scan and access
standard Imperial communication
frequencies. Depending on mission
security requirements, Cassian may
order К-250 to avoid interfacing such
networks. K-2S0's access may leave
tell-tale “electronic footprints" that would
divulge the presence of covert operatives.
PARTNERS IN CRIME
The relationship between Cassian and
K-2S0 is built on trust but still has its limits.
While K-2S0 pines for a blaster pistol in
order to test his targeting accuracy,
Cassian refuses to equip him with one.
DATA El LE Carboplast-composite
| 4 ү Shell encasing
SUBJECT K-2S0, KX-series security droid lb 4 ^ cognitive module
PLANET OF CONSTRUCTION Vulpter
Vocodor
assembly
MANUFACTURER Arakyd Industries
TIRELESS VERSATILITY
AFFILIATION Alliance Intelligence
K-2S0's versatility is representative of
HEIGHT 2.16m (7ft 1in)
AGE 12 standard years
a disappearing design philosophy,
as major droid manufacturers find
greater profitability in selling
specialist models rather than
multifunctional models. With his
humanoid shape and dexterous
manipulators, K-2SO can
operate a wide variety of tools
_ and equipment, and carry gear
tirelessly. His cognitive module
is also programmed with
specifications for more than
AO Imperial transport vessels,
making him a capable pilot.
Primary
programming
port access
door
Concealed data
Spike in fist
Shock-
absorbing
femoral strut
TECHNICAL STAFF
REBEL SUPPORT |
KEEPING THE REBELLION RUNNING requires an
army of unsung technicians, mechanics, and
droids. Unlike the Empire, with its seemingly
bottomless well of resources to arm its military,
the Rebellion must make do with the ships,
weapons, and equipment it has. These finicky
devices require constant upkeep and repair, as
they are rushed from mission to mission with
little downtime in between. While the soldiers in
the field may draw the glory, it is the techs back
at the base who make their exploits possible.
The necessities of an ever-mobile
Rebel Alliance dictate that even
this support staff be trained in
combat skills. Some with a limited
perspective may scoff that these
rebels don’t pull their weight in a
firefight when the Empire attacks.
The truth is that these technicians
are too valuable to risk on the
battlefield. Their expertise around
machinery, computer systems,
communications networks, and the
administrative systems that keep
the Alliance organized are vital to
the success of the Rebellion.
Astromechs trundle
throughout the Massassi
base. They are equipped
to fine-tune almost any
piece of rehel gear.
The signals analysis group makes do with
cobbled together instruments tucked
into a corner of the Yavin 4 outpost.
є
PRIVATE TENZIGO WEEMS
A vigilant Signals Intelligence
technician in General Draven's
command, Private Weems is part
of an attentive team of analysts
deciphering communications
chatter from across
the galaxy. An array
of automated listening
posts feed Base One's
communications room,
with a bewildering tangle of
signals bouncing through a
maze of repeaters to avoid
giving the Empire a straight
line to the rebel base.
Weems tracks the progress
of Operation Fracture from
Jedha to Eadu, and breaks
the news when the Rogue
One team engages the
Empire on Scarif.
Standard web
built with
carriage loops
| Worker
trousers with
patch pockets
D4-R4B (ARFORB)
R-series astromechs form the bulk of
the droid labor pool at the Massassi
base. One of dozens, Arforb is not
assigned to starfighter duty due to a
programming glitch that makes it afraid
of flying. The droid excels at ground
maintenance in an effort to
compensate for its shortcomings.
Treaded
feet
Variant helmet
design has comlink
but no visor
CHIEF GARN STEWER
With his tech team, Stewer
creates a symbiotic relationship
between fighter pilots and ground
crew. Stewer’s team knows the
X-, Y-, and U-wings as well as the
men and women who steer them
into combat. The exhausted
v
futility with which Stewer -
implores the pilots not to damage €
“his” starfighters masks a good
——D)
DESIGN LINEAGE
Engineers closely examined the performance of
preceding craft such as the ARC-170 and the
7-95 Headhunter flown in the Clone Wars.
They produced a new fighter, which was
poised to become a mainstay in the Imperial
Starfleet when matters of politics and corporate
rivalries sidelined the Incom Corporation in favor
of Sienar Fleet Systems. The Incom designs would
have gathered dust were it not for the resourceful
engineers of the Rebellion who adapted and advanced
them beyond initial specs to meet their needs.
\
y)
-
Krupx MG7
|
proton torpedo | — — — — — uem
——
|
| launcher |
| Variable
A w, ~ geometry |
| S-Foil actuator |
| servo |
®
Ч
S
D]
El
3
E
¡2
үт
BACK VIEW
ATTACK MODE
Switching an X-wing into attack mode
splits the starfighter’s S-foils into an
expanded configuration that not only
increases the deflector shield envelope,
but also increases the effective firing
cone of the four laser cannons.
: NT
` tf
ta ; aet i
INSIDE THE COCKPIT
An armored cockpit module maintains a
breathable, pressurized atmosphere. Despite this,
pilots routinely wear vac-suits as a precaution
in case of catastrophic decompression from
emergency extravehicular activity.
AAA
| в2 unit |
= = astromechin |
i | |
ШИ nun:
_ MANUFACTURER Incom Corporation
` MODEL T-65C-A2 space superiority
starfighter
AFFILIATION Rebel Alliance
WIDTH 11.76m (38ft 7in)
LENGTH 13.40m (44ft)
CREW 1 pilot plus 1 astromech droid
ATMOSPHERIC SPEED 1,050kph
(652mph)
WEAPONS 4 Еа cannons, 2 OOD
torpedo launchers
س
ee
| Magnetic flashback
| suppressor prevents
|
(
|
|
|
|
|
|
|
|
|
cal якн RE
ae
6 Microporous Power coupling |
| | | lasers from damaging
cooling blades access port | |
|
AO {сес су | the cannon
Be coe LÀ
OCCUPIED TERRITO:
The first destination in Operation Fracture is the cold desert moon
of Jedha. It is here that Saw Gerrera’s splinter group of rebels is
ensconced, waging an ongoing insurrection against the Imperial
occupation of the moon’s Holy City. The Empire’s forces are on high alert
following the defection of an Imperial pilot. Jyn, Cassian, and K-2S0
must watch their step as they make their way through the crowded city.
Ancient Holy
| City of Niledha
Catacombs
of Cadera
MOONS Jedha is itself a moon of NaJedha
POPULATION 11.3 million
Desiccated
tablelands
JEDHA C
AGING, WINDING HYPERSPACE ROUTES fell out of favor in
a growing galaxy, leading to once-popular Jedha becoming
an antiquated curiosity rather than a relevant destination.
Those who now seek Jedha are looking to be lost, or to find
a deeper purpose. Some insist that this sandy world of
ancient spirituality gave its name to the Jedi Order, though
most scholars believe it to be the other way around. All
agree the history of the Jedi and Jedha are intertwined.
PLACE OF PILGRIMAGE
Several long-standing faiths such as
the Ninn Orthodoxy, the Zealots of
Psusan, and the Phirmists consider
Jedha a holy site.
IMPERIAL OCCUPATION
Rich deposits of kyber crystals have
led to an Imperial mining operation
on Jedha, with the Empire heavily
occupying the Holy City.
BREAKAWAY REBEL GROUPS
An insurrection of loosely affiliated
rebels battles to liberate Jedha from
Imperial control, turning the ancient
city into a war zone.
THE CATACOMBS OF CADERA
Disgraced rebel Saw Gerrera bases his
operation out of skull-lined catacombs
that he has turned into a military camp
and a dungeon named the Gut.
| Imperial Zeta-class cargo
| Temple of |
| the Kyber | shuttle takes off with |
| shipment of kyber crystals |
тишли:
THE HOLY CITY
Despite the presence of the Empire and outbreaks of
violence, the Holy City—known as Jedha City or NiJedha
in ancient texts—still sees a steady stream of offworld
Path of Ancient city
Judgments walls
visitors. Jedha serves as a reliable replenishment port
compared to the uncharted systems that surround it,
and the adventurous come here to escape the routine
of the more populated inner systems.
POSING AS PILGRIMS
The crowded avenues of Jedha City make it
easy to disappear, provided one is focused on
maintaining a low profile. At first, Cassian orders
K-2SO to stay behind with their ship, but having
the droid as a tagalong proves fortuitous when
he briefly attempts to convince a stormtrooper
patrol that Cassian and Jyn are his prisoners.
SEEKERS OF SALVATION
| JEDHA PILGRIMS
U 4
THE MOON OF JEDHA С k in hi Staff-mounted censer TOSHDOR NI
is soaked in istory. of Qatameric incense A towering Lorrdian, Toshdor Ni cloaks his
Primordial structures—some of the earliest natural scent with the smoke of burning
architecture known to exist in the galaxy—dot E Wie ieee) а
s : eed he wears. Swathed in the vermilion
its desert horizons. Tantalizing clues etched = ie vestments ЯЕ Brotherhood
into these withering sandstone edifices E of the Beatific Countenance,
^ H 4 1 Ni and his fellow foll
describe faded connections among dozens of | E ane nis te ом и
_ 3 m. Me ; A on concealing robes that
ancient faiths, bringing the spiritually faithful to M act as a physical vow of
Jedha searching for answers to deep questions. Y | Silence—occluding the
natural expressiveness
These believers travel from across the galaxy DEDERUNT
hoping to find truths buried in the sands. : movements.
= Тһе Force has existed as a recorded
concept in the galaxy for well over
25,000 years. The Jedi Order was
its most well-known practitioner,
but there are other schools of study
and worship that have evolved in
parallel on scattered planets.
These cultures may not exhibit
SIRE control and manipulation of the
of the Holy City teem with Mystical energy field, but they do
adherents of many religions, Speak of its power and of its ability
with a wide range of to shape and influence the destinies
orthodoxy and observances. f individuals and history.
As the Empire has risen in power, it has become
intolerant of such displays of spirituality and faith.
Beginning with the extermination of the Jedi Order—done
to prevent an attempted coup of the Republic—the Empire
looks suspiciously on such supernatural beliefs.
Natives of Jedha are
as a whole spiritual
themselves, gracious
and tolerant of
outlanders who show
peace and respect.
ANGBER TREL
The simple red robes of the Disciples of the Whills
denote the oldest faith known to still be active on
Jedha. While not as demonstrably active in their
practices as the Guardians
of the Whills, the Disciples
can still he seen
congregating at the
Temple of the Kyber.
Walking stick
made from
salvaged
power cells
OMISHA JOYO
The Clan of the Toribota is a nomadic enclave
native to Isde Naha, a world on the trailing
edge of the Western Reaches. Astronomical
conjecture pointed them to the moon of Jedha,
believing the star in the system to have been the
first one glimpsed by their early ancestors.
Resonant
helmet siphons
the call of the
First Light
Ancient
distillery for
purification of
potable water
THE HIGH PRIEST
A leader of a congregation of the Brotherhood
of the Beatific Countenance, this robed
individual has so taken to heart his faith’s
concealment of individuality that he has even
Stripped himself of a name. His followers refer
to him only by a keening wail of specific pitch.
n
Lorrdian Cowl
of Quiescence
The Blue
Gown of the
Sullen Moon
KILLI GIMM
A Disciple of the Whills, Killi manages an
orphanage in the shadow of the Kyber temple. She
usually hides her human countenance—and her
fear—behind a sand
filtering mask.
Basic functional
breath-screen
and visor.
Translator
mask
transforms
subvocal
harmonics into
audible speech
SILVANIE PHEST
Part of a colony of Anomids that have
recently converted to become Disciples of
the Whills, Silvanie collects alms for the
poor. Her features are concealed behind
a vocoder mask that grants her speech.
Imperials routinely search the Anomids
for fear that their traditional headgear
may be disguising wanted fugitives.
LIFE DURING OCCUPATION
THE DECRANIATED
Ghastly medical techniques perfected by a fugitive surgeon known
to inhabit the Holy City have produced an order of servants known
as the Decraniated. Wounded or incapacitated victims of the
ongoing insurgency are transformed with cybernetic technology
to become as subservient as droids. Disturbing rumors persist
that those who undergo the surgery are in fact sold into unwilling
servitude and stripped of their individuality by the medical
procedure. The Decraniated servants of Gesh’s Tapcafe keep
boisterous off-duty Imperials content with tea and other libations.
LIFE IN THE HOLY CITY continues despite
the ongoing insurgency. The population,
both settled and transient, has little choice.
In a way, Jedha City is a portrait of what
a galactic civil war portends: a costly and
amorphous struggle between Empire and
rebellion with civilians caught in between.
With guerilla warfare tactics favored by
the insurgents, every alleyway, building, or
avenue could become an instant war zone.
Programmable
neuro-box
interface
Despite the frequent violent flare-
ups, life in Jedha goes on. Jedha’s
inhabitants try to adapt to the cruel
realities of occupation and continue
with their professions. Imperial
prohibitions have fostered a growing
black market. Local merchants have
refocused their efforts on keeping
the Imperial occupiers happy—
Freshly brewed
chav tea ready
for serving
Death-worshipping cultists
of the Central Isopter offering goods both legal and illicit to
frequent areas of violence, | unscrupulous officers to divert their
meditating on matters attention away from any infractions.
бош Cynical entrepreneurs look to make
money off the struggles of the occupied and the needs
of the spiritual. Transportation to and from the Holy City
remains a lucrative business, as only specially licensed
spacers are allowed direct access to the plateau ports.
It is chaotic and unsustainable, but that is life on Jedha.
The social turbulence
ofthe Holy City hasled
to the rise of many
- underground economies. -
E шу
DOBIAS COLE-TRUTEN
Cole-Truten makes a meager
living trapping and selling
burrowing silichordates
* that other vendors turn
into meals. Digging near
the kyber mines has
given him a chronic
respiratory condition
and a need for a
rebreather.
TAM POSLA
An interstellar lawman representing the
Milvayne Authority (as marked on his
helmet), Posla has voyaged well beyond his
jurisdiction and become a bounty hunter.
He is investigating claims of kidnapping,
forced servitude, and surgical alteration of
victims from the streets of Jedha. These À
reports resemble a rash of .
crimes on Milvayne,
attributed to a pair of
visiting spacers using
he suspected aliases
of Roofoo and
Sawkee. Though
Posla has been
aken off the case
by his superior {
м.
+
PUN 4 Targeting array
on articulated
stalk
GAVRA UBRENTO
Part of a roving mechanic
crew that offers repair
services, Gavra Ubrento
is skilled at keeping
starship propulsion les ne is :
systems functional, еее to
despite a lack of access А zung disse Y
f einous criminals Р ; > T
to state-of-the-art
technical tools
and facilities.
o justice.
WOAN BARSO
Woan Barso smuggles
refugees out of Jedha City
in a dilapidated container
tug to waiting freighters
in orbit. Barso has little
faith in his ship’s life
support, so wears a
vac-suit at all times.
Portable
scanner array
in EM-proof
pouch
Nisus Él
Modified
extended
magazine
BlasTech DL-17
VALWID INED blaster rifle
This brilliant Vobati has
recently found lucrative
employment on Jedha as
a forger. Ined supplies
members of Saw's
gang with counterfeit
transit visas that
that get them past
Imperial checkpoints
and into the Holy City.
IPKC license in
patch pocket
LIFE DURING OCCUPATION
'JEDHA CIVILIANS /
Bottle marked
with the name of
the Roalj temple
GUCH YDROMA
Ydroma claims to have been
touched by the god of his
Phirmist beliefs during a
desert pilgrimage, and gifted
with the mystical ability
to summon water. He has
visited the many temples of
the Holy City and brought forth
water “as if from the air itself,”
sealing the liquid bounty into
bottles marked with the temple
name. He sells these bottles to
believers and the thirsty alike.
JEDHA CHILDREN
The tragedy of the Jedha insurgency
is magnified when seen through the
eyes of its most vulnerable.
Orphans and castaway children
are found throughout the Holy
City, hungry and looking for
protection. Many of the
aiths within the city
walls have taken the
children as wards.
Young Pendra Siliu is
ortunate enough to
still have a living
mother, who is
desperately seeking
assage out of
he war zone to
somewhere—
anywhere—safe.
K-OHN (KONE)
A manumitted L-1 tactical droid, K-OHN offers his programmed skills
for hire in exchange for credits, spare parts, or direct power boosts.
K-OHN's versatile language processors are often employed in the
marketplace, where he is able to help travelers complete complex
transactions, no questions asked. He has befriended a band of street
urchins and shares a portion of his credits
with them so they can eat. K-OHN is
saving up for a processor upgrade so
that he can begin to understand
the nature of spirituality.
AA-1
VerboBrain
processor
Open cuff
prone to dust“
contamination
FASSIO ABLUND
Fassio sought protection from
the insurgency by selling
secrets of their movements
4 to the Empire. After
getting caught
stealing Imperial
armor from a fallen
trooper, he is
declared a criminal,
and now has no allies.
NESTA TERM
A self-proclaimed Lens of
the Central Isopter, Nesta
worships death itself. Her
obsession with oblivion
has brought her to
dangerous places
alongside her fellow
cultists. On Jedha, they
are said to study the
harmonies of discord.
BlasTech A310
rifle with
perforated
air-cooling
barrel shroud
JALICE ANDIT
ER Gun-for-hire Jalice and her
husband Joali are thrill
seekers and profiteers who
thrive in the chaos of the
Holy City. They are loosely
allied to Saw Gerrera’s rebels,
so long as credits keep
flowing to them and they
are allowed to participate
in outbreaks of violence.
NIK HEPHO
A smooth-skinned Britarro, Nik Hepho
is a skilled bounty hunter of some renown а
іп the Inner Кіт. Не specializes in
racking down adherents of the Church
of the Force, an outlawed religion that
Fe, — e continues to venerate the ideals and
CAYSIN BOG | AS «69 is Э beliefs of the Jedi Knights. Feeling that
Ahigh-gravity ni > he’s hunted the lower depths of Coruscant
humanoid, Caysin % dry, Hepho has come to Jedha with a list
Bog was blown apart
in an insurgency strike gp 7
and pieced together үз
again by a mysterious
man named Roofoo.
The surgical work
matches the work done
on the Decraniated.
of suspected church members assembled
y the Imperial Security Bureau—a list
he purchased off the black market. The
hunter keeps in contact with the droid-
intelligence that operates his starship
via his backpack-mounted long-range
ransmitter. His ship, the Apostate,
hovers in orbit waiting for his call.
CULTURE GLASH
The ancient and the modern share
uncomfortably close quarters in
the tight corridors of the Holy City.
Stormtroopers keep active patrols,
confiscating sizable examples of kyber
crystals, whether they be unrefined
stones or already carved holy totems.
DISGRAGED REBEL
с $ | SAW GE GERRERA
JEDHA REUNION
When Jyn Erso steps back into
Saw’s life, the warm man he
once was reemerges. Saw
saved Jyn as a child on Lah’mu
and trained her to fight in his
rebel cell. He was like a father
to her, and he grew to view
her as his daughter.
EXTREMIST, MADMAN, AND TERRORIST are
all labels that Saw Gerrera has been branded
with—by sworn enemies and reluctant allies
alike. Such slurs mean nothing to Saw.
2 He has been waging war against the Empire
since the very start of its reign, when the
` emergent power reneged on its promise of
liberty for his homeworld of Onderon after the PARANOIA RUNS DEEP
Clone Wars. Saw | s lost so much i in this fight As Saw has become increasingly battle-damaged and unstable, his paranoia
that fighting i i al he knows and has left. _ z has grown. He believes agents of both the Empire and the Rebellion are
vying to assassinate him for his past crimes.
This paranoia is the latest evolution of his conviction
that the Empire is up to something monstrous.
Pressure
: suit cuff
CAPTURED „=
KYBER CRYSTAL
CONTAINER
Walking stick
Saw became obsessed carved from
with stopping the Empire dxunwood
and discovering its secret
‘plots, no matter what the )
cost to his humanity. $ |
PORTABLE NEGATIVE Cybernetic
PRESSURE VENTILATOR foot plate
OBSESSIVE OUTLAW
EY. S \ For nearly 20 years Saw has been following tenuous
SUBJECT Saw Gerrera ATUS E I clues that, unbeknownst to him, point to the
PLANET OF BIRTH Onderon NON © #7 Death Star operation. In his pursuit to prove the
true nature of the Empire, Saw has revealed how
far he is willing to go—targeting civilians and
employing ghastly interrogation techniques. Such
acts have strained his relationship
Ban, 1 _ with the Rebel Alliance to the
AGE Unknown E: = | extent that he has been formerly
~ censured and ousted as an ally.
SPECIES Human
Plastoid ailette
blackblast armor
Atmospheric
sensor sampler
head
The Clone Wars/
Onderonian
Civil War
Leads rebel cell
against Empire
Rescues Jyn Erso
from Lah’mu
} Abandons Jyn
for her safety
Leads mission
to investigate
Geonosis
Tattered
Onderonian
banner worn
as cape
Ventilator
breathing tube
62-187 medical |
SO | droid in power-save |
: > | shutdown |
re me] Steps leading to
| gathering area
Medical
| picoscope for
tissue analysis
SHIFTING SANDS
Saw has operated out of the
catacombs for several years
now. The functions of certain - i
chambers may change over time, a "Ww Ceramic cup contains
but the lair consistently maintains à e | common cybernetic
a ramshackle appearance. - adjust tools
ACROSS THE DESERT from the butte that lifts the Holy City
above Jedha’s flatland crater basin is a cluster of towering
wind-worn rocks. Known by locals as the Catacombs of Cadera,
this site contains the ancient remains of a people whose name
and history have been long forgotten. Statues that lined the tits
path to these rocks were toppled centuries ago. Locals give VANTAGE POINT
the rocks a wide berth, believing them to be haunted. Ina The cave's latticed window is a more recent addition installed by the
Уе Church of the Contained Crescent. It abandoned the catacombs prior
sense they are, but by Saw—not by spirits of the departed. to Saw Gerrera’s settlement on Jedha years earlier.
Pm Analysis computer | м Former fight chair N
| | „Өр Пр a >
| Ш E SUI | ORT tracks purging of ^j N E refitted into
Saw weathers poor health— | Geonosian insecticide t
driven beyond the limits of from reinforced lungs E
his broken body by his zeal t
| to punish the Empire. The »
| pressurized suit he relies
ES
à)
upon to keep his shattered
i | pulmonary system working 3
| requires constant upkeep.
The time between Saw's
diagnostic rests shrinks
with each passing year.
62-187 \ pm
М Saw's medical droid was x | Vocabulator
THE GUT 3 " modified to bypass some of the
` à intrinsic programming that would
ordinarily prevent a 2-1B unit
from dispensing drugs at
dangerous intervals. G2-1B7
is baffled that Saw is still
alive. The droid is
frequently deactivated to
prevent it from building
an ethical case to
discontinue treatment.
The dungeons of the
catacombs are known as
the Gut, for prisoners are
known to stew here for
long, listless stretches
of time before being
subjected to interrogation.
WEAPON RACKS »
Saw launches his insurgency © /
against the Jedha occupation
from inside the catacombs. i Д E
His soldiers repair and 1 S \ Swappable
modify weapons here to F- | = a servogrip
keep them operational in $ = іпсегѕ |
ai Bee | E : { DEAD MAN'S BINSPD " |
- CARD GAME
POWERLESS PLAY
There are few amenities in
the catacombs. Soldiers
while away time playing rR
dejarik in a hand-carved
analog form, as they do >
not have access toa - Reading indicates
holographic game table. | b»- IMPROVISED lung capacity
ШШ. PLETHYSMOGRAPH
REBEL OUTLAWS
SAW'S RAGTAG MOVEMENT has changed faces
| many times since its origin as an underground
rebellion on Onderon during the Clone Wars. _
As Saw spread his activities far from his
homeworld and began
Jyn Erso surprises the militia when
she loudly proclaims herself to be
the daughter of Galen Erso—the
Imperial scientist mentioned in a
message for Saw Gerrera.
WEETEEF CYU-BEE
Kilo for kilo, Weeteef Cyu-Bee is one
/ of the most destructive members
of Saw's band of rebels. The
diminutive Talpini can hide
easily among the taller
beings that congregate
in the Holy City. A
sharpshooter, Weeteef
specializes in explosives.
He custom-builds the
sticky bombs used by the
insurrectionists against the
Imperial patrols of AT-ST
walkers and tanks.
Tibanna-jacked
DH-17/E-11
hybrid custom
MOROFF
Brawny Moroff seeks out combat
zones across the galaxy, selling
his firepower to anyone who
might need it. Not interested
in the details of the conflict
between Empire and rebels,
he mighty Gigoran
mercenary figures there’s
money to be made for a
owering gunner of great
strength. He’s found
ike-minded company in
Gerrera’s group and is part
of the patrol that brings Bodhi
Rook before Saw for questioning.
Vulk TAU-6-23
“Blastmill”
rotary blaster
cannon
KULLBEE SPERADO
Gunslinger Kullbee was
recruited by Saw on
Serralonis and is running
from a past he refuses
to talk about. Intensely
private, Kullbee
disappears for weeks
on end, and has heen
spotted praying at the
Temple of the Whills.
CYCYED OCK
The cyber-optic wired into
Ock’s brain grants him
sharp vision. With this
he analyzes kyber
deposits and examines
microcircuitry. "
He also has unerring T
aim when powerfully 1
throwing his
vibrorang weapon.
LEEVAN TENZA
A laconic Sabat who, until five years ago, was
part of General Dodonna’s team of rebels, Tenza
faced court-martial for disobeying orders and
preemptively engaging an Imperial target. The
defiant toothpick-chomping Tenza
didn’t proclaim innocence.
Instead he embraced
his guilt and escaped
rebel custody, aligning
with Saw Gerrera.
BlasTech
DH-447 sniper
rifle with
supercollimator
barrel
EUWOOD GOR
A former Rebel Alliance
Pathfinder from
Alderaan, Gor
abandoned much when
he “went native”
fighting the Empire
on Onderon
and joining
up with
Saw’s forces.
BEEZER FORTUNA
A cousin to Tatooine-based Bib
Fortuna, Beezer resents his Twi’lek
family’s involvement in the criminal
underworld and has always been
the most politically-minded of his
clan. During the Clone Wars he
was inspired by the liberation
efforts of Cham Syndulla’s
rebellion on their homeworld
Ryloth. Beezer was captured by
the Empire during a roundup
of seditionists in the Twi’lek
capital of Lessu but was freed
in a raid launched by Saw
Gerrera’s troops. Now loyal to
Saw, Beezer is one of Saw’s
chief strategists, mapping out
activity both local, in the
Holy City, and galactic,
as he helps Saw carry
out his private war
against the Empire.
Electro-prod staff
MAGVA YARRO
A survivor of the Ghorman
Massacre, where Imperials
slaughtered peaceful
protesters, Magva
believes Mon
Mothma’s rebels to be
ineffective cowards.
She is a forward
spotter for Saw’s Cavern
Angels squadron.
EDRIO AND BENTHIC are mercenary Tognaths
who have signed up with Saw Gerrera’s rebels
and operate out of Jedha. They share the bluntly
descriptive moniker of “Two Tubes” for the
breathing apparatuses that allow them to
| operate in human-standard atmospheres.
Their native world of Yar Togna was conquered
and occupied by the Empire, forcing them to
flee as refugees. With a desire to strike back
at the Empire, Edrio and Benthic have no
eservations about Gerrera's violent methods.
Evolutionarily ancient, members of
the Tognath species have genetic
markers indicating a distant
relationship to the Kel Dor and
Gand. Unusuall y, they combine both
: insectoid and mammalian traits,
. possessing endo- and exoskeletons.
Th ir compound eyes require
artificial lenses to better process
: -oo cybernetic
to recesses on their scalps. Though
Benthic prowls the
narrow alleyways of
the Holy City. Though
he operates at the
equivalent as a rebel
lieutenant, he holds
no formal rank.
BES
TAVERN ANGELS
Saw maintains a small
squadron of six X-wing fighters
dubbed the Cavern Angels,
which operates out of the
caves near the Cadera
Catacombs. The pilots swap
parts between semifunctional
fighters to make one or two
reliable vessels. Limited
supplies of astromechs and
hyperdrive parts keep the
Cavern Angels in usage.
YOU HAV E MADE MA
EDRIO TWO TUBES
Edrio is the pilot while Benthic
is the marksman of the Two
Tubes eggmates, though both
are skilled at ground combat.
LOST IN TRANSLATION
Benthic brought Imperial defector
Bodhi Rook to Saw Gerrera,
marching him blindfolded to
the Catacombs from Jedha
City. The term "defector"
has no translation in Tognath,
so it was fortunate Moroff was able to
convey the concept to Two Tubes lest Bodhi
not survive the encounter. Benthic would
ordinarily not hesitate to kill an Imperial.
Pressure-tight
corrugated metal
breathing hose
g
$
i
А
SUBJECTS Edrio and Benthic Two Tubes
PLANET OF BIRTH Yar Togna
SPECIES Tognath u
| AFFILIATION Saw Gerrera’s rebel faction
| HEIGHT 1.90m (ett 3in) С
AGE 32 standard оте
BOND OF BROTH
The term “eggmate” is a translation of a Tognath
phrase that is otherwise untranslatable into
Basic. Most consider them brothers,
but that is an imperfect comparison. On
occasion, Tognath eggs graft together while
in their suspension jelly. The emergent Tognath
larvae share an unbreakable bond, exhibiting
what appears to be rudimentary telepathy.
Canisters with
improvised
explosives (inert
without detonators)
Black-market
Sniper blaster
rifle
Told to keep his engines hot
and his eyes open during
$ meet and distract him from the evils of
dhi took up gambling with fellow Imperial
gained and lost credits by the thousand
ndo races, and has acquired a keen
ye for speed and tactics as a result.
NEUROSAAV TE1.3
QUADNOCULARS
LOCAL PILOT
Hailing from Jedha, Bodhi has witnessed the
decline of his once-beautiful homeworld under
Imperial occupation. The subjugated population
does what it can to survive, including taking the
meager employment offered by its oppressors.
For a time, Bodhi found ways to distract
himself from the reality of his peoples’
suffering, but eventually realized he
couldn't turn a blind eye any longer.
Rainproof
poncho
for Eadu
mission
BEHIND ENEMY LINES
Despite being met with initial suspicion for
defecting, Bodhi remains committed to the
rebel cause and on Scarif must face the
Imperial troopers he used to work alongside.
| Work goggles for in-flight
| repair work. Bodhi wears :
| them on top of his head when |
| they are not in use.
SPECIES Human
x INSIDE MAN t 3 2 / o _ | AFFILIATION Formerly Imperial cargo pilot
Bodhi’s knowledge of Imperial transit — “ы PU = . | HEIGHT 172m (5ft Bin)
AGE 25 standard years
REWARD FOR CAPTURE 75,000 credits
cancel out his odhi's А
past gambling N im | : / Faded Imperial
credits and identity vouchers from other pilo UN E i : logo—not kept up
allowing him to stay one step ahead of Imperials. — nn. ; i to regulations
Standard Imperial comlink:
Bodhi compulsively handles
the device even when
comm signals are jammed.
Diagnostics relay
cylinder
LOAD BEARING WEB GEAR
Bodhi hauls a cable-
dispensing backpack in
order to connect his shuttle $
: ; Remote
to the larger Imperial |
are : | | for Guardians
componentry. The equivalent of five 2
laser rifles’ worth of destructive output
streams through the weapon. To better
fit this amount of technology into a
compact frame, much of the hardware is
externalized, distributed through a flexible
belt and backpack-carried cooling and
power cell. Baze’s weapon is clearly
illegal for civilian use, but laws on
Jedha have become meaningless in
times of survival and insurgency.
Exhaust vent
for generator
ERDE.
Dust and
weather
shroud
Quad-folded
plastoid
polymer armor
High-density
power cells in
carriage frame
Galven-circuitry
flexible charge belt
Static-grounded
cannon muzzle
SUBJECT Baze Malbus
ў PLANET OF BIRTH Jedha (тооп) B
SPECIES Human - T
g AFFILIATION Former Guardian of the Whills |
HEIGHT 1.80т (5ft 11in)
AGE 53 standard years
CHIRRUT AND BAZE ATTAG
THOUGH BOTH ARE GUARDIANS OF THE WHILLS,
Baze and Chirrut could not be more different in their
approach to combat. Traditionalist Chirrut still carries
weapons associated with the ancient order, while
Baze adopts an implement of modern warfare.
Their methods suit them individually, and both are
effective extensions of their distinctive personalities.
Though Baze may chide Chirrut for his antiques, and
Chirrut may decry Baze’s reliance on soulless tools,
they trust each other’s defenses to such weapons.
Electroscope Power shot Rapid-fire
| barrel barrel
Recycled
E-11 blaster
handle
ROCKET ATTACK
Non-traditional Baze has no problem using
whatever weapon is at hand, including
the SpecForces HH-12 rocket launcher
Р s that he appropriates on Scarif.
+
WEAPON SYSTEM MWC-35c “Staccato Lightning
_repeating cannon
| MASS 30kg (ast 10lbs)
POWER SYSTEM Condensed к tai conductor cells |
fully charged
kk A
MULTI-FIRE, MULTI-TARGETS
Baze's repeating cannon has two fire modes. The
standard mode fires at a rapid rate that allows Baze to
spray a wide field of targets. The fitted electroscope has
| a smart targeting array that takes into account Baze's
position and facing, and groups shots into bursts that
maximize hits on specified targets. The secondary mode
is a single-fire power shot. The lower barrel collects
energy into these shots primed by a pump-action
foreguard. Both modes draw from the same power
source, but yield different levels of destructive output.
Galven-
circuitry
charge belt
Exhaust vent
MANUFACTURER Chirrut imwe
WEAPON SYSTEM Traditional Guardian of the Whills шон | LIGHTBOW DEPLOYED
E OE MEE ELE е Stabilizing the long-
| MASS BREED | barreledlightbow with an
| POWER SYSTEM Diatium p power r cell | impeller-gauntlet-fitted
COOLING SYSTEM Air-co Cans a hand, Chirrut pulls back on the
Air cooled. handle deploying the opposing
йл | AMMUNITION YIELD with standard blaster powere r cell, 50 ойе polarizer limbs. The impeller
анн helps keep the flight of the bolt
true and provides Chirrut with
a sense of feedback.
Polarizer
limb (stowed)
Articulated riser
gear teeth
|
|
Serving
barrel
CHIRRUT'S
LIGHTBOW
A lightbow is the traditional
handcrafted weapon built by
a Guardian of the Whills upon
completion of the seventh
duan—marking the Guardian’s
progression to physical
perfection. The bow is largely
analogous to the bowcaster weapons
built by the Wookiees of Kashyyyk. The limbs of the bow
extend on articulated risers, and each is tipped with a polarizer
array that draws a charged particle round from the serving
barrel. The released blast is more powerful than a heavy rifle.
Flashback
Suppressor rim
Stabilizing
handle
Case-hardened
emitter barrel
CHIBRUT'S STAFF
Chirrut carries a flame-hardened uneti-wood staff to help guide his
path as he walks through the streets of Jedha. The top is capped with a
metal lamp that contains a kyber sliver. Designed as a symbolic source
of inner illumination, it also allows Chirrut to better gauge where the end
of the staff is, as he can hear both the battery and crystal harmonic.
Crystal Sanded Central
containment uneti wood grip
lamp
THE EMPIRE HAS EXPENDED great effort to evolve its
ground-based army beyond the already impressive
capabilities inherited after the Clone Wars. The Empire
has a vast amount of land to control, and as impressive
as its starfleet is, control of a world requires planet-side
presence. The growing arsenal of ground assault vehicles
(GAVs), including heavy combat assault tanks, is seeing
increasing deployment on worlds occupied by the Empire.
PRECIOUS CARGO | Kyber crystal armored |
The Empire confiscates kyber crystals from local mines | transport containers |
and from the possession of the Jedha faithful, зол сыи]
and stores them in armored cargo modules
coded an orange hue. The tanks form an
essential link in carrying these modules
to waiting shuttle craft for transport
to offworld Tarkin
Initiative scientists.
Magnetically
secured modules
INSURGENT AMBUSH
As the tank turns onto Jedha City’s Tythoni Square, it enters a perfect
ambush site. Insurgents hidden in the parapets and on rooftops open fire,
throwing explosives at the tank’s propulsion system. A well-placed bomb
disables the tank’s treads, turning it into an even more exposed target.
racc
nn
FILE - c s
MINES UIS
ыо _
MANUFACTURER Rothana Heavy Engineering
MODEL TX- 225 GAVw “Occupier” combat assault tank
AFFILIATION Galactic Empire
HEIGHT 1. 82m er LENGTH 7. 30m (240
CREW 3 (commander, driver, gunner)
SPEED 72kph (45mph) on road; 45kph (28mph) offroad
WEAPONS 2 elevating medium double laser cannons,
1 forward medium double laser cannon
Sealed hatch on
| Elevating E
| i
| commander station gun-laying |
servo assembly |
PA
Heavy armor reinforced |
L with integral tensor field |
PR
| Ground effect |
| track system
у: }
INFANTRY SUPPORT
Despite its heavy armor and armament, tanks may still be vulnerable
to infantry assault. The close urban environment and elevated vantage
points can be exploited һу trained guerillas to trap and target tanks.
To counter such attacks, an escort of standard stormtroopers accompanies
the tank's slow progress through Jedha City.
Commander
HC-4120
(First Sergeant
ORDERS FROM THE TOP
The tank commander issues orders from the
topmost hatch of the TX-225 “Occupier” combat
assault tank, coordinating the actions of his crew.
When deployed with accompanying infantry, the
tank commander also leads those units as well,
as the soldiers must defer to the needs and
actions of the heavy armored vehicle.
The commander's helmet systems
are synced with the tank's combat
computer, keeping up to date on
rapidly evolving situations.
ae — н a — À
ARMOR STRUCTURE 4 E eden PROPULSION SYSTEMS
Ground vehicles rarely boast shields, as air | MONE cupola There are two main models of the TX-225 Occupier. The standard one, named
; friction undercuts their performance and | TX-225 GAVw, has a continuous track assembly for propulsion. The secondary model,
4 К 1 overworks deflector shield generators. Instead, the TX-225 GAVr, uses repulsorlifts to hover slightly above the ground. The tracked
на Ё =] the TX-225 has a composite laminate armor 1 model is in use on Jedha. Bogey wheels move sprocketed, interlinked metal plates—
that balances weight with durability. A matrix 4 or treads—to create crawler-like propulsion. This grants the GAVw greater stability
of quadanium-enriched titanium interspersed 1 than a repulsorlift model, and renders it immune to explosives that specifically target
ы i with ceramic plates and phase-bonded onto d Driver station repulsorlift signatures. However, the track is a complex mechanism that can be
ROTHANA HEAVY ENGINEERING has a long history of supplying armor an elastic lattice gives the armor remarkable armored compromised by lack of maintenance. A well-placed explosive charge can knock loose
to the Empire, including producing the first walkers deployed in resilience and toughness without overtaxing the | hatch cover Driver station the metal plates, leaving an Occupier motionless and vulnerable in the thick of battle.
А vehicle’s propulsion systems with excess weight.
the Clone Wars. Now a shadow of its former robust self, Rothana 5 ч Е
specializes іп ground effect and repulsorlift armored vehicles. Its Gunner) Rothana Heavy Radiator
Imperial TX-225 assault tank rumbles along segmented tracks, which technician Engineering ADGT-1500 cap Shockproof kyber
engine block crystal payload
gives the armored vessel maneuverability in tight quarters such as
а 2 Insulated
the streets of occupied cities. Its laser cannons can devastate enemy Жез ЕЛЕ
troops, and the powerful engines can transport heavy payloads. channel
Kyber crystal-carrying
ШШЕ 3 11 armored cargo module
Infantry accompaniment
trooper TK-1016 with T-21
light repeating blaster _„@
Dymek MK 2ew — | wo
{
medium laser cannon
Elevating turret
head rotation seam
Turret systems
coolant pump
- and antiarmor
laser actuator
Laser cannon power
conversion coils
Tensor field a Central fusion
radiator channels generator
Turret drive motors
supply tankage
| Track idler wheel
Heat-shedding laminate helps Forward-locked
disperse lethal temperatures antipersonnel! Dymek MK Depleted duranium Reinforcing tensor Adjustable Motive track held in place by selective
from energy weapons 2e/w medium laser cannons composite armor field generator steering column magnatomic seals on drive wheel
ched on top of the —
ehicle’s armored hull,
= The congested avenues of Jedha’s
Holy City necessitate a slow _
advance. Accompanying infantry
keep an eye out for insu
JEDHA PATROL
Grenades, mines, and resistance
snipers are a recurring threat to
Imperial patrols. The TX-225 is an
intimidating presence but also
presents a tempting target.
Gray markings
denote
commander
Status
LIGHTWEIGHT ARMOR
The Imperial combat driver
uniform design has changed several
times during the Empire’s reign,
reflecting improvements in versatility
and further specialization of the
vehicle operator ranks. Its latest
incarnation is a partial suit of
plastoid plate that provides
protection but also permits the
flexibility required to sit in the
cramped quarters of an armored t
vehicle, such as a tank.
CRUSH EVERYTHING
— WC-4120, IMPERIAL HAMMERS
ELITE ARMOR UNIT
Flexible greave plates
allow for a secure fit
CRYSTAL SHIPMENTS
In the Holy City, Imperial
TX-225 assault tanks
transport heavy payloads
such as the orange
containers of confiscated
kyber crystals harvested
in Jedha’s mines. These
shipments are transported
to cargo ships, and off the
moon, by squadrons of tank
troopers and stormtroopers.
nn
E nn
езе а
| ‘SUBJECT HH-4413 (Sergeant Warda Gojun)
| PLANET OF BIRTH Saleucami
| SPECIES Human
AFFILIATION Tist GAV battalion
HEIGHT Y Sim (5н Tm І
Wireless telemetry
receiver for tank
system interfaces
Oo
ае
COORDINATED CONQUEST 1R,
Imperial GAV crews rely on coordinated
actions with multiple unit types for maximum
effectiveness. Army doctrine stipulates that
GAVs should not operate without adequate air
or orbital cover, and whenever possible should
work in tandem with infantry. While tank crews
belittle foot soldiers with terms such as “tiny
tanks” or “lightfoots,” infantry refer to tanks as
“fire magnets.” Given the rarity of Rebel
Alliance armor units, counterattacks
on Imperial tanks typically come
in the form of mines or
improvised explosives.
AGE 2 22 štandard yeats
Breathmask
filter screen
Plastoid
rerebrace
Utility belt with
compact repair
and diagnostic kits
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THE EMPIRE
From the chaos of the Clone Wars, the Galactic Empire emerged
as a Stabilizing force promising peace and security to a war-weary
populace. Many in the galaxy willingly exchanged freedom for stability.
The Senate attempts to keep this power in check, but its efforts are
futile. The Emperor will not tolerate any constraints on his plans,
and completion of his Death Star would render him nigh unstoppable.
IMPERIAL MASTERMIND
ON THE HUNT
After landing a lofty appointment
in Imperial Intelligence, Krennic
used every tool at his disposal to
track down the fugitive Galen Erso.
Orson manipulated and deceived his
longtime colleague Galen into carrying
out research vital to the Death Star’s
completion. With pressure mounting to
complete the weapon, ruthless Krennic
disposed of any displays of friendship.
ire. However,
te that his ability to
DEATH APPROACHES
On Lah’mu, Krennic and his cadre of
death troopers marched on the Erso
farm. Krennic believes he gave Galen
every opportunity to comply and see
things his way. That Galen cannot is an
intolerable flaw in his character.
ic architecture with th
ild become the Imperial
“WE WERE ON THE
— ORSON KRENNIC TO GALEN ERSO
UNDER PRESSURE
The demands of the Imperial echelons
place great pressure on Krennic. He is not
of the principled Coruscanti classes, able
to verbally parry and weave in debates
and politics. Krennic’s temper is far more
volatile, a fact that makes some, like
Grand Moff Tarkin, uncomfortable.
Chronic delays of the Death
Star operation weigh heavily
on Krennic. His reputation
rests on the delivery of a
working superweapon. _
KRENNIC’S DT-29
Custom-fitted | HEAVY BLASTER
macroscope PISTOL
10 4
ARCHITECT OF DESTRUCTION 4 " Кееп mind dissects
Krennic knows he is surrounded by ambitious / - architectural puzzles
Imperials who have climbed over the weak to and conspiratorial plots
achieve great positions of power. With the Death qn 1
Star on the eve of completion, his career is both
at its zenith and at its most vulnerable. The
battle station is to be the Emperor's final step in
complete galactic conquest. To successfully
deliver the weapon to Emperor Palpatine is to
be immortalized as a hero of the Empire—
something Krennic desperately desires.
DATA FILE
PLANET OF BIRTH Lexrul (Sativran City)
SPECIES Human
STATUS Director of Advanced Weapons
Research, Tarkin Initiative, Galactic Empire
Coded key cylinder
with top level access HEIGHT 1.80m (5ft 11in)
AGE 51 standard years
Rank plaque shows Fleet
equivalence of admiral
Antistatic
tailored cape
Tee-muss calf
hide gloves
TIMELINE
Born on Lexrul
Recruits Galen
Non-regulation
DT-29 heavy
аск down Galen -
Weapons test on Jedha : | a Cex ) © blaster pistol
| DARTH VADER
THE FEARSOME, WRAITHLIKE presence that
haunts the upper tiers of the Imperial military
hierarchy, Vader has a peculiar yet necessary
relationship with the Empire. He holds no
formal rank and needs none, for he is the
emissary of the distant and reclusive Emperor. їй service to Че Emperor, Yader is afforded
When the Death Star project draws the express command of many military resources,
and personal interest of Palpatine, Vader is including the Star Destroyer Devastator: `
dispatched to keep vigil over the ambitious
officers tasked with making it a reality. DARK LORD REBORN
Transformed into a mechanized
Vader is not a widely known tyrant, the man that was Anakin
has been forever buried beneath
public figure. His origins are even na mared shell Mose CPIS
less so. Vader was once a hero of physical body has been replaced
the Clone Wars, under his birth or impregnated with cybernetics
name: Anakin Skywalker. A to keep him alive. In this state,
Е i e he is rarely far from elaborate
powerful Jedi Knight, he carried medical facilities that allow for
ou i mpaigns where he
On the volcanic world of Mustafar, t daring єз ров = A maintenance and Upgrades
the newly rechristened Darth demonstrated an imaginative zeal to his cybernetic systems.
Vader made an enemy of his for adventure and a willingness to
former friend and mentor, Jedi push against the restraining
эме doctrines of the Jedi Order. “THE ABILITY 10 DESTROY А PLANET
When the Jedi Order refused to advance Skywalker IS INSIGNIFICANT NE CT TO THE
to a position where he could make the most of his
abilities, a way was paved for Supreme Chancellor
Palpatine to be able to sway his loyalties. Palpatine, a
secret practitioner of the Sith ways, promised the dark
side of the Force was a pathway to greater power and the
ability to reshape the galaxy to a strict and orderly ideal.
Skywalker swore loyalty to the Sith, becoming Darth Vader.
— DARTH VADER
Al
|
Zn
E,
Vader suffered mortal
injuries duelling
Obi-Wan on Mustafar.
The elevated Emperor
Palpatine saw to
rebuild his prize pupil
with cybernetic
technology.
gases
DARK MONOLITH
Vader's personal abode is an obsidian tower on an
inhospitable world. It is by the Emperor's design that
Vader lives in such an unforgiving environment. Vader's
attendant, Vaneé, visits Vader as he meditates within a
rejuvenation chamber. The stark, modern structure is
built over an ancient castle full of dark secrets. DARTH VADER'S
SITH LIGHTSABER
Ls
O
a
. p C D
nn
_
RED EYES В oe
__ Photoreceptor lenses and nn Y bue ers at v
| displays are color-shifted : \ s po i t p dete
_ to accommodate Vader's | \ nn Br a...
_ weakened eyes. Over the 3 б
years, different versions of
his helmet have incorporated
different optics.
ae : a
an : | AU eo e
C v
с
t s
_ eh
е.
== Bu nou cm
Vu NOM s
a...
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o
Atmospheric
sensor
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=
nn
—
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nn
a
i
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O
5
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o
a
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em
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Hor
v
_
Born into slavery
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DATA FILE
SUBJECT Darth Vader 8
5.
PLANET OF BIRTH Unknown; raised on Tatooine
SPECIES Human
AFFILIATION Dark Lord of the Sith;
Emissary of the Emperor
HEIGHT 2.02m (6ft 8in)
AGE 41 standard years
ee _
_ Regulatory
. function box
DATA FILE Superlaser
focus lens
REGION Mobile
DIAMETER 160 km (100 miles)
TERRAIN Layered decks surrounding
power plant and propulsion systems;
surface crust of city “sprawls” divided
into functional sectors; equatorial and
meridian service trenches; superlaser eye
MOONS Not applicable
POPULATION Mission dependent, service
roster ranges from 1,186,295 to
1,206,293
Equatorial
trench
е Refinery
2 levels
THE DEATH STAR
THE CULMINATION of more than two decades of research,
construction, and testing, the DS-1 Orbital Battle Station, codenamed
the Death Star, nears completion. The size of a small moon, it is
a mobile, planet-killing superweapon, able to transform and focus
the raw energy of hypermatter reactions at its heart into a world-
shattering superlaser. This energy transformation, using Galen Erso’s
kyber crystal formulae, was the most difficult technical hurdle to
overcome. But now, at long last, the weapon is ready to deploy.
IMPERIAL BATTLE STATION
DEATH STAR DIRECTOR
Orson Krennic is tasked with making
the Death Star a reality. He is on the
eve of his greatest triumph, and is
impatient for it to be realized.
(CNN |
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in
CAREFUL OBSERVATION
The Death Star houses the greatest
artificial concentration of power
ever conceived. Monitoring its
systems іѕ essential.
i
DEMONSTRATION OF DESTRUCTION
Krennic longs to demonstrate the
station's power to the Emperor, but
he cannot gain an audience due to
intervention from Grand Moff Tarkin.
STANDING BY
SUPERLASER
After a long wait, a stable, operational
superlaser assembly is guided into
the Death Star superstructure and
connected to the hypermatter reactor.
The Death Star superlaser focuses eight tributary laser
streams into an amplification nexus to create a blast
magnified through kyber crystal field dynamics. Correct
timing and balance of the streams is essential, as
any error could upset the reaction with catastrophic
consequences. Each of the eight firing stations has its
own team of well-trained gunners and technicians, who
all follow a carefully orchestrated firing sequence.
05-1 EVOLUTION
THE DEATH STAR’S PATH TO COMPLETION is a long,
circuitous one full of setbacks, intrigue, and breakthroughs.
The galaxy at large remains unaware that Emperor Palpatine
engineered the Clone Wars. The Death Star began under the
auspices of the Separatists—the enemy faction that he
secretly controlled. They had the technical know-how to plan
out the massive battle station, and the triumphant Empire
had the resources and political will to make it a reality.
Sublight ion
| engines in recessed
equatorial band
OVER JEDHA
At Grand Moff Wilhuff Tarkin’s behest, Director Orson Krennic makes
ready a test of the Death Star's prime weapon. It is only a fractional
test: a small portion of its total reactor yield is siphoned into a
superlaser blast targeted at Jedha City. The results are unmistakably
devastating, and a humbling preview of the power a full-powered test
could produce. Krennic's pride soon evaporates as Tarkin claims
control of the station upon seeing proof of its potency.
Jedha's ancient
tablelands
HIVE MIND ORIGINS
Tasked hy Count Dooku (Sith Lord Darth
Tyranus), the Stalgasin hive of Geonosians
forms plans for a deep-space battle station
with a kyber crystal-based weapon.
POGGLE’S DIVULGENCE
AT Captured by Anakin Skywalker, Poggle
the Lesser divulges the nature of the
Separatists’ master weapon. He insists
that it only exists in theory.
TARKIN’S AMBITIONS
Upon learning of the weapon, Wilhuff Tarkin champions its construction.
He believes its mere presence would be capable of ending wars.
A DEATH STAR BEGINS
Using captured Geonosian plans procured by Palpatine, construction of the Death
Star is secretly started over Geonosis, under supervision of Tarkin and Krennic.
CONSTRUCTION OVER GEONOSIS en, mm
Enormous orbital construction a / TA a
domes begin transforming the / ms 4
rocky rings of Geonosis into raw
construction materials. A spherical
shape begins to emerge. == g"
LI
SAW’S OBSESSION
Obsessively following leads concering a secret Imperial superweapon, Saw Gerrera
comes close enough to finding the Death Star to prompt the Empire to move it.
С
Ss
е | | THE STERILIZATION
c To keep the Death Star a secret, the
Imperial military sterilizes Geonosis,
| killing its populace of billions. This
genocide goes undetected for years.
KYBER TRANSFORMATION
The lack of a functional superlaser slows
down the Death Star operation. It is not
until Galen Erso is coerced to research
kyber dynamics that progress is made.
| Superlaser à E
readies for only |
single reactor |
ignition |
FINAL FITTING
The final functional superlaser— created on Eadu—is transported to the Death
Star where it is fitted into the superstructure. The Death Star is finally operational.
DESTROYER =
TO MEET INTERSTELLAR DEFENSE NEEDS,
the great shipyards of the galaxy were
fired up during the Clone Wars, and those
forges have stayed lit in the years since.
MANUFACTURER Kuat Drive Yards
MODEL /mperial I-class Star Destroyer
а с:
E 3 CREW 9,235 (officers); 27,850 (enlisted);
elsewhere have been converted from т Erf ar 8200 (гоорег aT oor ATMOSPHERIC SPEED 975kph (606mph)
massive Imperial-class Star Destroyers— AT THE DARK LORD'S COMMAND
А А The competent and fiercely focused WEAPONS 60 heavy turbolaser cannons, 60
the unmistakable warships of the Imperial Navy officer Captain Shaef ion cannons, 6 dual heavy turbolaser turrets,
Imperial Navy. Larger and more powerful Corssin is the commander of the Star 2 dual heavy 90 cannon turrets, 2 quad heavy
a А А Destroyer Devastator, the warship that turbolasers, 3 triple medium turbolasers, 2
than the Jedi cruiser of old, the Imperial serves as Darth Vader’s personal flagship. medium turbolasers, 10 tractor beam projectors
Star Destroyer is the current standard, ата Be
and a harbinger of even larger Aft starboard point x _
warships yet to come. defense laser cannon
EXE 6 U TRIX Tractor beam i
The Star Destroyer Executrix emerges - Я : targeting array
rom the shadow of the Death Star as the s.
battle station's final superlaser is fitted.
Under the command of Captain Hindane
Darcc, the Executrix is the flagship of
Grand Moff Tarkin, governor of the Outer
Rim Territeries. As Tarkin looks out from Bridge
is command bridge he can see his dream deflector :
roject nearing completion. Director shield domes zr
rennic stands with Tarkin, eager to
unveil this weapon to the Emperor
himself, should Tarkin allow it. -
Navigational
deflector
generator
Primary
docking bay
DAUNTLESS
The Star Destroyer
Dauntless hovers like a dark |
cloud over the Holy City of
Jedha. It offers protection
for the many shuttlecraft
extracting kyber deposits,
and its presence offers
an undeniable sign of
Imperial power.
| Crew decks and |
——— gunnery crew |
| quarters
Port heavy
~~ turbolaser
| battery
| Port lateral |
; umbilical
| restocking
| vestibule
| Fore starboard |
| active sensor -
array pallet Forward 7)
Se | pursuit
DEVASTATOR л
The last of the /mperial I-class
> | array
Star Destroyers to lumber out of the Kuat Drive E
Yards before the facility began producing the /mperial
II-class, the Devastator is still a state-of-the-art warship.
It meets the exacting specifications of Darth Vader, who
exhibits an affinity for cutting-edge warship design. Like other ships
in its class, the Devastator bristles with heavy weapons emplacements,
enormous batteries of turbolasers, and heavy ion cannons that line
the ventral superstructure flanking the command tower.
POWER STRUGGLE
AS THE DEATH STAR nears operational readiness, it
becomes a large and potent playing piece in the ongoing
game of wits and ambition between Grand Moff Tarkin
and Director Krennic. The cagey Tarkin has both taken and
deflected credit for the project as it has fallen into and out
of Imperial court favor over the years, but now its full power
is undeniable. Krennic has stayed true to his vision, even
when it appeared the station would never see completion.
TEST FIRING
Much to Krennic's frustration
director feels h
Tarkin controls access to the
to offer Palpatine
ly get an audience with him. Wh
emonstration of the station's
tp
rkin, given past
The Death Star's
perhaps more so.
Emperor. T has muc
rennic for a d
ed that the Emperor is
aution, Si
weapon's primary weapon
failures of tt
S potent as ex
superi sf prove
given that this initial blast is but a fr
The upper echelons of the
them preferred treatment
and advancement.
THE LINE BETWEEN the Imperial political
machine and the Imperial war machine has
blurred. The Galactic Empire was formed from
a Republic recovering from war. It transformed
into stratocracy—a government headed by
military chiefs—so gradually that many in the
galaxy took no notice. The citizens simply
believed that the Imperial Senate and powers
in charge represented their best interests.
Ultimately, the Senate proved
to the military command before
of control through authority.
The culmination of the Empire’s complete transition
to a military state hinged on command of their fleet, the
Death Star, and military nerve centers such as the base
on Scarif. It is from Scarif that the most promising and
ruthless Imperials arise, waiting for the call to completely
and finally subjugate the galaxy.
Lieutenant Adema stands within a
beehive of activity in the Scarif
Citadel command center. Itis to him
that anomalous reports trickle in
about rebels arriving on Scarif.
disposable in the Emperor’s long-
term plans, and authority ceded
funneling up to Palpatine. To ensure
that this transformation would be
accomplished to his very exacting
demands, prestigious academies
Empire include those whose Cross the galaxy raised ambitious
influential families afforded men and women who would
perfectly echo the Imperial mantra
IMPERIAL INSIGNIA
A plaque with an
arrangement of colored
rectangles denotes rank.
Sector-specific design
schema creates a
hodgepodge of non-
uniform markings.
LIEUTENANT NILES GAVLA
Carida academy graduate
Gavia is based on Scarif,
where he serves as the
planet-side
administrative
support liaison
for the defenses
officer based on
the Death Star.
GENERAL SOTORUS RAMDA
After crushing a focal insurrection
as a garrison commander on Syni IV,
the unimaginative Ramda longed for a
posting closer to the heart of
Imperial power. Though he
had desired a Core World
assignment, Ramda
relishes command of
the Scarif garrison. The
weather is pleasant and
the severe defenses mean
the likelihood of attack
or infiltration is minimal.
It is exactly this kind of
overconfidence that the Rebel
Alliance can exploit.
Traditional flared
military breeches
Stiff boots affect a
more severe posture
GENERAL HURST ROMODI
A battle-scarred veteran
of the Clone Wars, Hurst
Romodi was one of the first
generals in the restructured
Imperial Army. He served
al
ongside Moff Tarkin
on missions that
LIEUTENANT (JUNIOR GRADE)
TOBIX CHASSER
Operations personnel
Chasser oversees the
Death Star's allocation
of staff. Those that are
aware of the Death
Star's near
operational
readiness vie for
onboard assignment.
resulted in the
pacification of the
unruly Western
Reaches and, by
personal invitation,
returned to the
military to help in
the readying of
the Death Star
project.
LIEUTENANT CRIDEN VALDAS
A readines.
Scarif
s officer at the
Citadel, Lt. Valdas
reports up to General
Ramda on matters of
military technology
т
апаретепї and
contingency
planning.
LIEUTENANT
MYTUS
ADEMA
A purposeful young
officer more ambitious
than most, Mytus Adema
finds General Ramda's
command of the Scarif
Citadel distasteful.
While Ramda believes the
Death Star to be a waste of
time and money, Adema thinks
it a potent symbol of Imperial
might to be respected.
He watches Ramda's
actions closely in the
hopes that he will
someday be able
to present
a damning
account of the
senior officer
to Director
Krennic.
Crease-free
gaberwool
uniform
Private datapad
contained in
shockproof case
Coded rank
cylinder
FILLING THE GULF between infantry troopers
and the upper levels of the Imperial military are
countless support personnel—men, women,
and droids—keeping the war machine running.
They span multiple branches of service and
are every bit as loyal to the Empire as those
on the frontlines. Whether stationed at ground
installations, aboard Star Destroyers, or within
the vast interior of the Death Star, they carry
out the will of the Emperor.
| a Droids are on the lowest rung of the
p - 1 Imperial service ladder. Unlike the
E d droids in the Rebel Alliance, those
ii \ in the Empire are rarely afforded
any privileges, respect, or
acknowledgments. Similarly, service
technicians are low down the
ES
Imperial hierarchy and are routinely
ignored by those in command.
Gray-uniformed technicians deal
ADeath Star gunner
monitors the precision
energy-balancing required with the most menial of duties,
to safely operate the while those in black coveralls are
Death Star's sunerlaser higher in station. Navy troopers,
gunners, and ground crew are military roles that may not
see combat, but play a vital role in day-to-day operations.
The Death Star project has great need of such
personnel. The Service and Technical Sectors of the battle
station’s personnel number in the hundreds of thousands.
Without the work
of Imperial service
personnel, the Empire
would be unable to
deal with the growing
rebel threat:
TECHNICAL AND SERVICE PERSONNEL
BlasTech SE-14
blaster pistol
CORPORAL
ANSIN THOBEL
Navy troopers are a
ubiquitous presence
in Imperial operations.
They are so numerous
aboard the Death Star that
they've earned the name
of Death Star trooper.
These marines are trained
in shipboard combat,
repulsing boarders,
and pacifying escaped
prisoners. Most are cross-trained
in some operational duty, as
Corporal Thobel is. When not on
his sentry duty shift at the Death
Star's command sector, Thobel
mans a sensor suite station in
the general sector.
4D6-J-A7
An RA-7 protocol droid based at
the Scarif Citadel, 4D6-J-A7 is
an administrative assistant to the
Imperial Intelligence and Security
Bureau offices there. She is
routinely exposed to
classified information.
As such, the droid's
databanks are
protected from
intrusion by
electronic or
other means.
Such efforts
have given her
a conceited
attitude. She
is insufferably
arrogant to droids
beneath her station.
So far, this has not
affected her performance.
ENSIGN YORT CAVWOL
Fastidious duty officer
Cavwol gives Lieutenant
Adema and General
Ramda reports on
routine operations
at the Scarif
headquarters.
Reports are tailored
to their specific
preferences.
C2-B5
Within the vault of the Scarif
Citadel, astromech C2-B5
patrols for maintenance
needs and sweeps the
computer network to
probe for any electronic
discrepancies. C2-B5 is
routinely memory wiped
and lacks any sort of
distinctive personality.
2ND LIEUTENANT FROBB
From landing pad nine
on Scarif's beach, deck
officer Frobb catalogs
shuttle landings and
takeoffs. He ensures
ships have enough fuel,
life support, and victuals,
and orders inspections
should anything appear
out of the ordinary.
MSE-6 DROID
A common sight at Imperial installations, Rebaxan
Colmuni MSE-6 droids (nicknamed "mouse droids")
zip along underfoot, relaying
> ыч messages that аге to be
a kept off-network,
or couriering
small items.
CREWMAN TODES HALVAX
Computer technician
Halvax is the systems
administrator at the
Scarif command room.
He keeps the Citadel
running to Krennic's
exacting specifications
and stands ready to
tackle any technical
issues that may arise.
LIEUTENANT DANBIT BRUN
A shield relay systems
operator, Brun monitors
the power systems on
the orbital shield gate
station above Scarif.
He carefully monitors
field dynamics to
prevent dangerous
buildup from stellar
wind aurorae.
Wraparound helmet with
removable faceplate
TECHNICIAN KENT DEEZLING
Busy Imperial surface ports benefit from
dedicated crewmembers who help direct traffic
where automated systems cannot typically make
decisions fast enough on a rapidly changing
landing field. The deck technicians
are plugged into air traffic control
via their headsets, but seem to
prefer analog solutions. They wave
ships in with luminous wands
and eyeball distances without
sensors. These techs wear
piloting gear, as they are
authorized to commandeer
certain vessels in order to
steer them into proper
positions on a landing deck.
Spare power
pack for suit
systems
ILLUMINATED -
TRAFFIC WANDS
DATA FILE
REGION Outer Rim Territories
DIAMETER 14,121 km (8,774 miles)
Tarkin Initiative A TERRAIN Mountain terrain
laboratory SU MOONS 1
POPULATION 2.5 million (estimated
native population)
Blast range mo ; i Eaduan village
for dynamic " cluster
kyber field " populated hy
experiments nerf herders
|" ТТР
; х N 277
d SS 77
BD a N 2
NI Е EN c “ty
Z eu
SAFETY AND SECURITY dictated that the most volatile =
elements of the Death Star research took place far from the = EE с
EN
construction of the main battle station itself. The mountains = ar a
of Eadu, a world owned by Grand Moff Tarkin and ceded to =
his eponymous Tarkin Initiative, came to house a top-secret, % Мы
high energy conversion laboratory created by Director й
Orson Кгеппіс. It was here that Galen Erso led a team of Z E SH
7 SD
brilliant minds to unlock the secrets of kyber crystals.
$
Ww
LUTTE
LIFE UNDER WA
4
SURPRISE INSPECTION
Though the Empire conducts regular
inspections on the science team, the
surprise arrival of death troopers
heralds an ominous change in fate.
THE DIRECTOR
Having evidence of a traitor on
Eadu, Director Orson Krennic orders
the entire contingent of scientists
to be brought out before him.
GALEN’S REBELLION
To spare the lives of his scientists,
Galen Erso admits to Krennic that he
and he alone has compromised the
secrecy of the Death Star project.
VANTAGE POINT
From high above the windswept,
rain-drenched mountains, rebel
infiltrators can watch the standoff
between Imperials and scientists.
Imperial
ground crew
Stormtrooper squadron,
armed with T-21 light
repeating blaster rifles
Kyber crystal
Shipping
container
HEAVY D
The remote location of the planet and the difficult terrain
provide natural defenses for Eadu. However, a garrison
of stormtroopers stands ready to secure the installation
against any attack, as do a battery of heavy anti-aircraft
turbolasers and a squadron of ready-to-launch TIE fighters.
E ONE OF THE GALAXY'S most renowned polymaths,
Galen Erso is a gifted theoretician, mathematician,
and experimental physicist. Born to hardworking
parents locked in a life of poverty, Galen applied
his genius to solving the problem of want.
Observing that resources were scattered unevenly
across the galaxy, Galen sought to examine the
very structures of existence to see if he could
unlock unlimited energy and even out the divide
between those who have and those who have not.
Galen would always ask, “what if?”,
teasing out hitherto unimagined
possibilities. At a young age, he
mastered music and chemistry, and
voraciously consumed knowledge
through databooks and the HoloNet.
Upon earning entry into the Futures
Program on Brentaal, he met a
gifted architect named Orson
Krennic. The two worked well
together. Though Galen was a few
years older, the timid man shrank
in the shadow of Orson’s outsized —
personality and charisma.
After graduation, Galen spent
much of his twenties in advanced studies, research
internships, and teaching positions. Krennic assisted
in getting Galen a visiting professorship at the Institute
of Applied Science on Coruscant, at which time Galen
focused his studies on kyber crystal research.
Galen’s single-minded
tenacity often caused him to
neglect those around him. On
Lah'mu, he made up for lost
time with his daughter Jyn.
When his dreams of helping
everyone were co-opted by
the Empire, Galen instead
chose to focus on helping
his immediate loved ones.
0
“WE CALL IT THE an
DEATH STAR... МЕ
m— Imperial
THERE IS NO vs
uniform __
BETTER NAME."
— GALEN ERSO
TWISTED PERCEPTION
Krennic believes he has been helping Galen
reach his true potential. He cannot fathom
that Galen would not be grateful.
ACCOMPLICE TO THE EMPIRE
It was Krennic who coerced Galen into joining a
top-secret research project meant to help the galaxy
recover from the Clone Wars. Project Celestial Power
relied upon Galen’s knowledge of energy enrichment
and enhancement through kyber crystals to deliver
previously unthinkable yields of power. While Galen
worked to maximize the yields, he was unaware
that Krennic planned to weaponize his work
in the Death Star superweapon.
MOMENTS OF REBELLION
Upon learning the horrific nature of the Death Star project, Galen fled to
Lah’mu with his family, only to be tracked down by Krennic a few years
later. Forced to work alongside other similarly captured scientists at a
secluded facility on Eadu, Galen begins to quietly rebel against Krennic
and the Empire by allowing word of the Death Star to slip out.
Hair dampened by exposure
to incessant rain on Eadu
| SUBJECT Galen Walton Erso
| PLANET OF BIRTH Grange
| SPECIES Human |
| AFFILIATION Formerly Project Celestial Power;
|
|
IN NEW FOCUS
. During a six-month field expedition to Espinar,
. Galen met and fell in love with a guide named Lyra.
The two married on Coruscant and had a child, Jyn,
born during the first few months of the Clone Wars.
That galactic conflict trapped the Erso family on Vallt—
a world siding with the Separatists—until the intervention
of Orson Krennic freed the Ersos, but led to a different
kind of captivity as Galen became
ensnared in Krennic’s growing
Imperial ambitions.
currently Tarkin Initiative
HEIGHT 1.83m (6ft)
| AGE 55 standard years
й j ; Coded rank
CRYSTALLINE | : à cylinder allows
SYMBOL 17 | limited data
This faceted kyber access
crystal becomes the
logo of the think
tank known as the
Tarkin Initative. | _ Project lead
uniform
Born on Grange
Entrance into the
Brentaal Futures |
Program
Meets Orson
Krennic
Marries Lyra
á | Standard
9 Jyn Erso born 1 Imperial
on Vallt | : 4 ` dress belt
Flees Coruscant
Captured by
Krennic
Grange subadult science and
engineering fair scholarship
Top honors, Brentaal Futures
Program materials competition
The Kuat Systems Engineering Medal
The Ashgad Prize
The Roche Foundation Prize
THE DEATH STAR has been developed in secret
in scattered scientific research laboratories
for over two decades, beginning as a detailed
set of theoretical schematics envisioned by the
Stalgasin hive of Geonosians. Though Geonosian
engineering solved many of the construction
challenges, the heart of the station’s power
proved elusive. The Geonosians simply could not
translate the yields of kyber crystal energy
bombardment into a safe, scalable output.
To the Empire, cracking the mysteries of kyber crystals
and completing the Death Star became of paramount
importance. However, kyber crystals were extremely rare,
especially of the size required for maximum energy output.
Smaller fragments were of limited use. Additionally, the
energy shed through crystalline amplification was
extremely dangerous—too dangerous to be tested within
the battle station itself. So while the main superstructure
neared completion, superlaser development research
continued far away from the station construction sites,
secreted in the remote mountaintops of rainswept Eadu.
Under the direction of Galen Erso, a team of scientific
geniuses undertook two interconnected projects: the fusing
of crystal shards into larger forms, and the creation and
redirection of a controlled chain reaction. In total, the
kyber crystal research team, a division within the Tarkin
has been kept secluded for nearly 20 years.
Suspicious of a rebel sympathizer
within the scientific ranks,
Director Krennic assembles the
team for interrogation.
EATH STAR SCIENTISTS |
RASETT MILIO
Milio is the administrator of the
HECIL (High Energy Concepts and
Implementation Labs) division of
the Tarkin Initiative. His projects
center on the creation of containment
channels and directed force fields in
order to “sheath” the energy
unleashed by the
superlaser into a
focusing cone.
Crystalline lattice
“breakthrough”
insignia of the
Tarkin Initiative
—
VLEX ONOPIN
A graduate of the Magrody Institute of
Programmable Intelligence, Onopin codes
the sequencers that calculate the myriad
hyperspatial formulae required in kyber crystal
energy translations. It is his complex computer
programs that model the variables
involved in Death Star firings.
Coded
cylinders
control access
to high security |
laboratories
AMES URAVAN
A native of Christophsis,
Dr. Uravan has
pioneered phase-
shifted grafting
techniques in
crystalline
engineering. Uravan
oversees the
conglomeration of
shard shipments from
Jedha into larger
compound crystals
that mimic the physics
of a single, uninterrupted
crystal body.
Tunic top alters
color in the
presence of
dangerous
radiation
Grounded footwear
prevents potentially
dangerous static
discharges
SIRRO ARGONNE
An operations specialist in the
Tarkin Initiative, Argonne
administers the facility on
Eadu and ensures that
the scientists stationed
here have their needs
met, whether those
needs be materials
or personnel. He
was formerly part
of the Republic's
Ministry of Science.
Antiseptic
coveralls
prevent lab
| contamination
Once a leading researcher at
Nordoxicon Unlimited, Vann’s principal
area of study is shield technology.
He has created a series of deflector
arrays that direct hypermatter streams
from the Death Star’s main reactor up
to the crystalline firing array.
Imperial cog
symbol
ERS OF THE EMPIRE
) STORMTROOPERS /
The Imperial occupation of Jedha turns
the once-peaceful world into a powder
keg of insurrection. Stormtroopers
scramble to quell outbursts of rebellion.
FIGHTING FORGES
Some Imperial Academies begin training
cadets as young as 13 standard years
of age, molding young minds to become
subservient to the Empire. This proves to be
startlingly easy, especially on impoverished Outer
Rim worlds or war-torn planets where the Empire
is embraced as a savior. After years of mental
and physical conditioning, a cadet emerges as an
anonymous soldier with a number for a name.
LET'S SEE SOME SCANDOCS”
— IMPERIAL STORMTROOPER
Targeting
macroscope
_ Blaster gas
cylinder cap
EADU DEFENSE FORCE
Stormtroopers are often deployed as security forces to protect key Imperial
installations. The 975th garrison, attached to the Tarkin Initiative, guards
the scientific research base on Eadu. Trooper loyalty is so unswerving that
they are often rotated through top secret Imperial operations.
Polarized lenses with
integral image intensi
SUBJECT TK-14057
er, race, and homeworld orig
1asked by the white pla:
| past, such
delineations would have
- produced rivalries, but now
stormtroopers of all stripes
see themselves as part
of one overarching union.
Standard stormtrooper
Î belt with blaster power
| cell containers
HOMEWORLD Aargonar
SPECIES Human
AFFILIATION Galactic Empire; Eadu
Deployment
HEIGHT 1.80m (5ft 11in)
Magnatomically
affixed plastoid
spaulder
Plastoid armor
vambrace
Fingertips on bodysuit {
gloves have capacitive (INN
| surfaces for electronic |
Î screen interactions
TROOPERS ON ALERT
In addition to ground combat, stormtroopers
of varied divisions serve as on-site security
for starships and ground installations. They
operate on escalating strata of responsiveness
depending on their Defstat (defense status)
level. Suspected rebel incursions send
troopers scattering to battle stations.
IMPERIAL TECHNOLOGY
THE EMPIRE KEEPS ITS TROOPS equipped
with modern technology, ensuring they stay
a step ahead of armed insurrectionists.
As has become apparent, however, rapid
mass production has left shortcomings in
Imperial equipment that rebels can exploit.
Stormtrooper armor, while capable of
intimidating subjugated populations,
can be breached by well-placed blaster
shots. While more advanced armor has been
developed for elite units, the standard rank
and file soldier has to make do with this
vulnerable kit. Operating in large numbers
helps make up for such deficits.
LONG-RANGE TRANSMITTER
ANTENNA
Heat dispersion vents
4 MFTAS
interface
diagnostic
update _
STORMTROOPER HELMET
The stormtrooper helmet (known colloquially
as a “bucket”—affectionately when used by
Imperials, derisively by rebels) is packed with
electronics that filter the real world into focused
military lenses. The multi-frequency targeting
and acquisition system (MFTAS) creates an
in-lens display for a trooper. Though the helmet
can be hermetically sealed, it does not have a
contained air supply. Scrubbers filter out smoke
and the most common particulates, but for
complete environmental purity, a stormtrooper
must attach an external atmospheric tank.
Atmosphere —. "
intake and
processing unit
NEURO-SAAV 004.4
ELECTROQUADNOCULARS
SANDTROOPER PATROL
On Jedha, troopers wearing variant armor are
known as sandtroopers. Filtration systems
prevent dust contamination that would clog
standard armor breathing ports over time.
The cooling units employed on hot desert
worlds are not needed on the cold moon.
SANDTROOPER TYPE
4 FIELD PACK
Shock
padding
Comtech
Series IV
speaker uses
three-phase
sonic filtering
for clear
sound
CRYSTAL PATROL DUTY
While specialist branches of the Stormtrooper
Corps such as snowtroopers, scout troopers,
and shoretroopers use customized armor and
equipment, the standard stormtrooper can
increase his versatility with field-specific kit.
In addition to carrying out police actions in the
occupied Holy City, these stormtrooper patrols are
tasked with confiscating any kyber crystals from
citizens, regardless of size or quality, for eventual
NEURO-SAAV MODEL TD2.3
ELECTROBINOCULARS
delivery to Eadu for processing. To better preserve
the crystals, stormtroopers seal collected
fragments in vac-sealed, armored
canisters carried in a
well-secured backpack.
Weather
shroud covers
shock-resistant
cargo carrier
Pauldron
denotes rank
or mission
specialization
Datapad for
cataloging crystal
captures kept in
MULTI-FREQUENCY weatherproof pouch
SPOTLIGHT GLOW ROD
DLT-19 heavy
| blaster rifle
ARMOR ACCESSORY CUBE LOCKER
| THE MISSION TO EADU turns tragic when conflicting orders
| collide. Alliance Intelligence, fearful of the knowledge that
| Galen Erso holds, calls in an airstrike to level the Tarkin
| Initiative installation, not realizing that Cassian Andor, Jyn
| Егѕо, Baze Malbus, Chirrut Ímwe, Bodhi Rook, and К-250 are
| in the firing range. Caught in a blast, Jyn and Galen Erso have
| but brief moments of reunion. Galen looks upon his daughter—
| his beloved "Stardust"—for the first time in years.
e in uer T
i
/
DRAVEN'S FALLBACK
General Draven had charged Cassian Andor with
the instruction to assassinate Galen Erso, rather
than rescuing him, fearing he knew too much.
However, he also organized a backup plan involving
a squadron of X- and Y-wings, which at his orders
swoops down on Eadu with deadly deposits
of bombs and limpet charges.
N
a oe
GOING ROGUE
Having witnessed a fraction of the destructive potential of the
Death Star, Jyn Erso will not sit idly by while the rebel leadership
deadlocks on their next course of action. She musters a team of
rule-breaking rebels to depart on their own unsanctioned mission,
deep behind Imperial lines. Their objective: to steal the plans
of the Death Star battle station, no matter what the risk.
Citadel
complex
DATA FILE
REGION Outer Rim Territories
DIAMETER 9,112 km (5,662 miles)
TERRAIN Oceans and island chains
MOONS 0
POPULATION 475,000
Volcanic
islands
Excavation site _
Aurek-14
SCARIF
A SMALL WORLD of tropical islands rising from clear, shallow
oceans, Scarif has a mantle that is filled with dense metals
valuable in starship construction. Its placement deep in the Outer
Rim makes supplying the shipyards of the Core too costly, but
allows for development of projects too sensitive to be located
within inspection distance of the Senate. These factors combined
to turn Scarif into an incubator for Imperial military research,
N
: a 17, S a
with a stronghold known as the Citadel below the sand. LTD
CRYSTAL DELIVERY BUNKER NETWORK COMMAND TOWER SHORE DEFENSES
The research on the planet Eadu Scattered landing pads surround the The Citadel is capped with an When infiltrators do the unthinkable
consumes the bulk of Imperial kyber Scarif Citadel, with barracks leading immense tower that affords a | and breach Scarif defenses, the
shipments, but some are taken to to a repulsor rail system that commanding view of the beach base is placed on high alert.
Scarif for specific experiments. connects them all together. and is the center of operations. Stormtroopers take to the beaches.
| trees offer natural |
| protection
b
wildlife incursions | З
| treeline scan for |
IDYLLIG ASSIGNMENT
A tranquil environment combined
with a remote galactic location
makes Scarif seem a desirable
placement. The officers in the
Citadel have become lax in their
attentiveness—an attitude born
of the confidence placed in
Scarif’s defenses. The enlisted
stormtroopers assigned to patrol
the beaches, however, are well
trained and do not let these
| Standard stormtroopers
| defer to shoretrooper
| specialists
matters cloud their vigilance.
CARGO SHUTTLE
THE TELGORN CORPORATION and Sienar Fleet Systems pooled
resources to create the Zeta-class shuttle, one of the most
versatile transport craft employed by the Empire. Pressed into
both military and civilian government service, the Zeta is
built around a modular pod that can accommodate varied
cargo needs. As the Death Star operation nears completion,
and components from scattered hidden laboratories need to
be ferried to the battle station, Zeta shuttles are in constant
use. Pilots routinely fly cryptically labeled cargo loads,
unaware of what the goods in their holds are contributing to.
One of four
synchronized
articulated
stabilizer foils
INCREASED DEMAND
Work on the Death Star sees steady
flows of cargo shuttle traffic
connecting various worlds. From
Jedha, kyber crystals are flown to Eadu.
From Eadu, refined agglomerated
Sienar Fleet
Systems
sublight drive
system
crystals are returned either to the
Death Star or to Scarif for further
analysis. Scarif also sees deliveries
of turbolaser, shielding, and other
technical componentry for eventual
fitting onto the battle station.
MODULAR CARGO = \ очы
{ ramp leads to holding
The Zeta-class shuttle’s ventral cargo pod A bay and cargo pod's
uses standardized umbilicals and docking \ = nested airlock
sleeves for firm purchase into the spaceframe. N
These pods draw power from the Zeta’s reactor \ \
plant, providing energy for specific cargo needs
such as refrigeration or life support. Seasoned
pilots can drop off and pick up without
having to commit to a full landing,
should expediency require it.
Larger Eta-class supply barges
can hold multiple pods aloft
on a dorsal cargo bed.
Modular cargo pod
finished in faded
“interstellar orange” paint
3
-—
|
|
VE
А Wings contain
> j robust repulsorlifts
| to counter weight
| 1 of carried mass TECH STATION
y Once a cargo pod is secured, it relays diagnostics
: ҳ information directly to the main tech station іп the
| shuttle. Depending on the security clearance of the
a crew, this may or may not include a full detailed
sensor readout of the carried load.
Deflector shield
projector plane
DATA FILE
MANUFACTURER Telgorn Corporation
MODEL Zeta-class cargo shuttle
Rigid bracin,
oir cd AFFILIATION Galactic Empire
hull structure
for stability ( HEIGHT 28.74т (94ft 4in) with wings upright
LENGTH 35.50m (116ft 5in)
CREW 2; passenger load variable—
depending on cargo requirements
ATMOSPHERIC SPEED 700kph (435mph)
WEAPONS 2 wing-mounted paired heavy
laser cannons, 3 hull-mounted paired laser
cannons
1
Pivoting heavy
double laser cannons
deter pirates
THE COMMAND DECK
Safe operation of a Zeta-class
shuttle requires a pilot and copilot
bearing accredited operator licenses
from the Imperial Space Ministry. The
urgent need for cargo fliers in the Empire
means that even rookie pilots with minimal security
clearances are pressed into service. However,
access to Imperial ports is very restricted and most
pilots are not permitted to exit their ships at all.
Hull-mounted Taim & Bak KX7
laser cannons pair with wing- | ;
mounted Taim & Bak KV22
heavy laser cannons
Heavy repulsorlift generator
(linked set of 20)
1 e ) nn m F ) | | 1 Inbound shuttle SW-1721 with
е чый ка j o | o 2 . 1 : | 5 | e turbolaser barrel sleeves
; : s nn | 1 NN A я nno | Heavy power trunking in
DURING THEIR HASTY DEPARTURE from Eadu, the Operation | o Co ; | aE ——— AE ш ! ion-shielded conduits
Fracture team commandeers Imperial shuttle SW-0608. After ss i |:
a brief visit to Yavin 4, where Jyn Erso entreaties the Rebel
Alliance for official support, the shuttle becomes a key part (| | ; A) 2
of the Scarif infiltration. PME Bodhi Rook feigns that he has o | : E ^ & cha | | | > .* — SCARIF INSERTION
departure clearance and improvises a name for the shuttle and | | | t | А | Шы anne шг an Inspection
its mission: "Rogue One." The Imperial vessel disappears into | | | lz Sns Ф P team, Cassian, Jyn, and K-2SO proceed from the
hyperspace, Scarif-bound, and loaded with rebel commandos. (e eu Ne MA a
Baze, Chirrut, and the rest of the commandos
use the cover afforded by blasts of coolant from
j y | | the shuttle’s purge vents, which spew at steady
Outbound shuttle SW-4415 with Self-diagnostic 1 жа нас 2 i De к à LT | B intervals as per standard landing procedure,
deflector shield matrix circuitry sensor node г ; : ha a hm | x 2: | | oS uc е, | | 1 | to sneak out of a belly hatch in the cargo pod.
Deflector shield
projection duct
Laser cannon hh UN N oo e 8 Heat sink Heavy servomotor
positioning servo cap O э | || _ eh ; 2 2 86 radiator ports rotation gear
Bodhi Rook and Corporal т FR, | 22 a г = ao TEM @ a Tensor field |
Tone sit in the cockpit ; f re 1 р £1 j |. | 4 actuator Wing articulation
| ; Tech | ‚ access panel / servo hub |
station | | 1
Forward viewpoint
Avionics bay and control interfaces
Primary active sensor hay
FLYING CASUAL
` Bodhi has a working familiarity with the
Scarif approach—he’s flown it over a
_ dozen times before. However, his paltry
security clearance means he has never
set foot beyond a landing pad, several
kilometers distant from the team's - "s
ultimate objective: the Scar Citadel.
One obstacle at a time is the only way
to succeed in this foolhardy mission
against overwhelming odds. Bodhi's
clearance codes get the shuttle past
its first obstacle—an otherwise Deployed
impenetrable shield barrier that entry ramp. = т t é ; E : | ` 2 -
envelops the entire planet, save ; is : IR? T ' c inicati i a E | Lie t Taidu Seña | Loadlifter capacitated е "Empty kyber crystal Rebel commandos crawl — ^ Heavy load-bearing
for a high-altitude gate station: 8 о 28 i = “terminal and patch bay - Malbus holds open hatch door interface handle crammed in floor space shipment modules beneath belly of craft landing strut
i ada " 4
Jyn Erso (disguised { — ww !
as Technician Ii ge n / BEN ду 25 i ‚ Chirrut
Kent Deezling) actu М, | шш! * EN : Imwe
TK-40121
stands on
шага duty
Quadanium-tungsten z |
composite vault door
SCARIF VAULT
AT THE VERY CORE of the Citadel complex is a multi-tier data
vault that houses the deepest technological secrets of the
Empire. The enormous library of datatapes is “cold” stored,
whereby cartridges are kept disconnected from any network
to prevent unauthorized electronic access. Security guards SCREENING TUNNEL
surround the inner vault, as do heavy security doors and The defenses of the inner vault are geared toward preventing
sophisticated electronic scanners meant to restrict computer nn.
capable of disabling droids or computer equipment. Actual physical
systems from reaching too close to the library itself. theft of the datatapes is considered beyond the bounds of probability.
BORALLIS M&M 0-1041
PLASMA CUTTER
LIEUTENANT MILTON PUTNA
Alibrarian-turned-security officer, Putna
is well versed with the layout of the datatape
library tree. Access into the main vault door
is keyed to his palm print.
The Vault security contingent springs
into action upon the tripping of a DefStat Three
security alert: infiltration detected.
INSPECTOR GENERAL BOZEDEN JEEMS
Weapons development falls under the arm of Imperial Intelligence,
and looks to its sister agency, the Imperial Security Bureau, to
defend its secrets. Inspector Jeems is an up-and-coming ISB
officer who is eyeing the position of Deputy Director. The
disastrous breach of the Empire's most valuable
military data vault causes his dreams of
advancement to dissipate. Jeems scrambles
2 ji troops in a vain effort to salvage his career
е first, and Imperial secrets second.
DATATAPE SELECTOR
Once inside the vault control hub, authorized personnel
Can use remote manipulator arms to temporarily remove
datatapes from the climate-controlled library tree.
Tapes such as the one containing the Death Star plans are
organized by Imperial weapons development protocols.
GOING UNDERCOVER
For the Rogue One mission, Jyn dons the
all-concealing uniform of an Imperial deck
crewmember. With the help of К-250,
Cassian and Jyn penetrate the heart of the
vault. When Imperial security surrounds
the vault, К-250 takes the only course of
action and locks his partners inside.
SUPERLASER LENS
An array of artificially
conglomerated crystals
creates an amplification
field that unites the
tributary laser streams
into the cumulative
planet-shattering blast.
FATAL FLAW
The hypermatter reactions at the heart of
the Death Star create superheated gases
that must be shunted away from the
superlaser array to prevent overheating.
A network of exchangers closer to the core
attempts to repurpose this heat energy, but
some works its way out through dedicated
ports. One particularly vulnerable port lies
along a meridian trench.
DEATH STAR PLANS
COMPRESSED AND ENCODED in a nondescript, high-density
datatape cartridge is the salvation of the Rebel Alliance. Galen
Erso’s modifications to the Death Star superlaser design
resulted in a top-to-bottom reassessment of the Death
Star’s reactor system. Unbeknownst to the Empire,
a weakness sits in the connection point between
the primary power amplifier and the hypermatter
reactor—which can be exploited by a high
energy rupture into the reactor system. The
unthinkable superweapon now has a nearly
undetectable, yet insurmountable, flaw.
High density —— —
shockproof
polyplast casing шы. Trenches such as these allow for recessed
cooling elements not directly exposed to
Monomolecular- stellar or hyperspatial radiation.
switching binary
tape with 512-million = ==
exanode capacity — Shield PEE
— projectors
Electromagnetic ——
shielding sink
DATATAPE CARTRIDGE
Slotted into the Scarif vault's Structural Engineering node in its datatree
is a cartridge nearly identical to all others. It contains the design history
of the Death Star, from earliest explorations to final approved schematics.
In the rebels' infiltration of the vault, Jyn is able to remove the cartridge
from its storage slot and abscond with the plans.
1 lon-drive reactor
2 Atmosphere-processing unit
3 Sector computer cluster
4 Turbolift shaft
5 Emergency radiation discharge
Located beneath a main port, the
exhaust port is at the end of a
trench that terminates with an array
of defensive turbolaser batteries.
= Equatorial 6 Secondary power converters
trench features = 7 Central power column
major docking 8 Tractor-beam power coupling
9 Main power generator
arrangements =
10 Hypermatter reactor
11 Power cell
12 Central computer core
13 Power-processing networks
14 Superlaser power cell
15 Primary power amplifier
16 Atmosphere-processing unit
17 Sector computer cluster
18 Hyperdrive
19 Tributary superlaser beam shaft
20 Magnetic shielding
21 Primary beam focusing magnet
22 Targeting field generator
DEATH STAR EXTERIOR
The Death Star makes judicious
use of replicable construction
segments. The surface consists of
a repeating variety of quadanium- N :
based prefabricated sprawl segments. IMPERIAL DS-1 PLANS — ~
plasma-bonded onto a latticework 0412.481.545GE -
extending from the interior decks. REVISIONS. V631
i
E
E
E
E
fi
E
A scant two meters wide, this particular hexagonal
port's placement allows for a straight, unobstructed
line into a section of the vulnerable reactor system.
SCARIF DEFENSE
SHGRETROOPERS
SPECIALIST ELITE STORMTROOPERS assigned
to the once-beautiful world of Scarif, these
soldiers lead security patrols, scout the
beaches, and man the barracks of the Imperial
military installation on the planet. While their
armor affords them greater mobility in the
seaside terrain, at their core they are standard
stormtroopers elevated by military necessity.
Most shoretroopers operate at an effective
sergeant rank, allowing them to command
squads of stormtrooper infantry.
Due to the environmentally —
‘specific nature of their postings, -
-shoretroopers—formally known as
coastal defender stormtroopers—
area rare sight in the galaxy. The
troopers assigned to Scarif wear
armor specific to their location,
vee meaning shoretroopers encountered
- When brazen infiltrators
somehow breach the Scarif elsewhere may not necessarily look
perimeter, shoretroopers the same. Being a shoretrooper is a
lead the charge to defend rotational role that stormtroopers
Rn. : ;
-adopt when their orders demand
it, and their rank and training. qualifies them for it. Scarif’s
isolation, and the heavy defenses that surround it, mean
: that shoretroopers do not expect to see combat operations.
However, grueling drills and live-fire exercises keep them
.. in peak readiness, a disposition that—unfortunately for the
Empire—is not shared at all levels of command on Scarif.
m Ness
Shoretroopers are
concentrated on
the outer landing
platforms, which see a
steady stream of traffic
as cargo transports
deliver supplies.
Reciprocating
double barrels
E-22 BLASTER
RIFLE
PLATFORM CONFRONTATION
As chaos erupts during the rebel
infiltration of Scarif, a squad of
troopers determines that the
invasion origin point is landing
pad nine. Shoretroopers lead
stormtroopers into a fierce
firefight and target the turncoat
Imperial pilot Bodhi Rook, who
has ferried the rebels to Scarif.
PAD TWO! MOVE OUT!"
= TK-32028
SECURITY FORCE
Scarif's heavy defenses lead
many confident Imperial officers
stationed in the Citadel tower to
view the beachside security as an
extravagant adornment. Such talk
does nothing to faze the shoretroopers,
who take to their duty with utmost
solemnity. Should an infiltrator find a
way to penetrate the orbital screens,
they are the last line of defense.
TROOP SCRAMBLE
Alarms within the enormous Citadel
Plastoid complex indicate the unthinkable has
greave with happened. A series of explosions on
expandable the beachside indicates invasion.
plates
153 4
Helmet crown
includes built-in
DATA FILE 1
SUBJECT TK-32028
HOMEWORLD Carida
SPECIES Human
AFFILIATION Galactic Empire; Scarif
Deployment
HEIGHT 1.80m (5ft 11in) ` М
7 \
cooling fans
Covered airfilters
prevent sand
buildup
DEADLY BEACHWEAR
Like the standard stormtrooper armor, the
plastoid shoretrooper armor is magnatomically
fitted onto a form-fitting, temperature-
controlled and sealed bodysuit. Similar
to that of the stormtrooper scout,
sandtrooper armor has fewer plates
` allowing for a more flexible and
. lightweight fit. Shoretrooper
captains are distinguished from
enlisted ranks by the larger
blue-gray colored area on the
_ chestplate and a set of plastoid
_ faulds instead of a fabric kama
around the hips.
Plastoid-coated
armor prevents
salt corrosion
Blaster gas
cartridge
magazine EN “л
holder А с cai 1 1 E i | Plastoid
| \ | | plackart torso
piece with
control systems
interface
HILL
i
Blaster power
cell cartridge
belt
lengthened armor
combined with
colored chestplate
pieces indicate
rank of captain
BOOTS ON THE GROUND
REBEL TROOPS 7
—
nn at
ENTRUSTED WITH defense and missions vital
to Alliance High Command, Special Forces
(SpecForces) are the handpicked best of the
rebel ground soldiers. Of these elite infantry,
the Pathfinders stand apart as some of the
most hardened, brave, and exceptional warriors
in the Rebellion. On Scarif they are tasked
with covert infiltration into enemy territory,
establishing a beachhead, and holding ground
until the arrival of the main military force.
With operations spanning some of
the most remote worlds of the Outer
Rim, the SpecForces have been
witness to the worst of Imperial
brutality. Hit and fade missions
have accomplished small objectives,
but the Empire still enjoys political
and military dominance.
When Jyn Erso proposes to the
шера mes rebel council a strike at the heart of
create as much destruction the Imperial military, these soldiers
and confusion as they can take notice. While those in the
to draw the Empire away council debate their next course of
Tron the inniit ator action, it is clear that Jyn is willing
As Imperials counterattack,
The infiltration of
Scarif immediately
faces enormous
challenges in that it is
a daytime insertion in
unfamiliar territory.
A A A A A me
PRIVATE BASTEREN
Private Arro Basteren grew up on the
agrarian world of Ertegas in the Anoat
sector, where keeping his family's
crops free of woshrikes sharpened his
eyesight. He serves as a spotter for =
Corporal Rostok’s sniper fire, and is E \ EN
typically tasked with maintaining overall
situational awareness and environmental
status in the heat of battle.
FABRITECH Q4-E
QUADNOCULARS
ine, m
Imaging screen
surface catches the
approach of Imperials |
PRIVATE KAPPEHL
Forward observer Farsin Kappehl
specializes in recon and assisting indirect
fire teams to zero in on targets with
his rifle-mounted lasing scope. This
mission places Kappehl deeper into
frontline action than he’s ever
experienced. The brave soldier
welcomes the change of pace.
BlasTech DH-17 with
extended magazine
and spotting laser
CORPORAL TIMKER
Combat engineer Walea Timker arrives on Scarif
as part of reinforcements delivered by Blue
Squadron. She specializes in finding, improvising,
and constructing temporary
fortifications across a
battlefield. Given how much
wreckage the Pathfinders
kick up in their initial
incursion, she has lots
of smoldering structures
A tochoose from.
Utility belt
with carriage
loops
CORPORAL MEFRAN
Awilderness fighter specialist from the
4th SpecForce Regiment, Jav Mefran masks
his misgivings about
the Scarif mission
by focusing on the
beautiful environment.
Mefran helped clear
out the jungle brush
surrounding the Great
Temple on Yavin 4
when the rebels
relocated there
from Dantooine, and
he has an affinity
for rain forest
surroundings.
Reinforced Czerka
ACH-14 advanced
combat helmet
CORPORAL TONG
A regular infantry soldier who recently
joined
an uprising on Qemia
the Yavin rebe
s following
7, Stordan
“Stordie” Tonc had aspired to one day
join the SpecForces,
ut now
that path shortened by necess
Опсе
anded on Scari
f, Tone s
inds
ity.
ays
with the shuttle on landing pad nine
along
Bodhi
eam
jungle
he ra
accou
andin
with several Pa
Rook while the
hfinders
rest of t
ans out into the surroun
. Alongside Bod
pidly dispersing
assau
hi, Tonc
able to create confusion among
Imperia
defenders by creating false
nts of rebel incursions on
g pads not currently un
t. When the Imperials
inally arrive at pad nine to
investigate, Tonc and his fellow
roops file out from the shuttle
o defend their vessel.
BlasTech A-300
blaster rifle
and
е
ding
is
er
BOOTS ON THE GROUND
REBEL TROOPS |
SERGEANT MELSHI ЖҮ Headset
At Captain Andor’s orders, SpecForces Га "ус comlink
nfiltrator Sergeant Ruescott Melshi is Кат y repeater and
placed in command of the Pathfinders that تسسا E earpiece
infiltrate the Imperial compound on Scarif. -— |
This requires several breaks from formal
command structure as Melshi is not the
ighest-ranking soldier on the ground.
owever, Andor knows Melshi personally
!
N CORPORAL ESKRO CASRICH
= Ё SpecForces commando and
thrill seeker Casrich has
rappelled the peaks of
\ Scipio, spelunked the
| sinkholes of Utapau,
N and sand-sailed the
M... dunes of Ingo,
= 44 Casrich sees the
T Rogue One
= i mission as yet
í another
adrenaline trip.
a Were it not for
Û his skill in combat, his
1 squadmates would tire
Î of his recklessness.
з.
I
о
nd trusts him to carry out the hard task
o
making his small fighting force feel
ike a much bigger unit in the eyes of
he Empire. Melshi leads by example.
he decides that an objective is
attainable, or worth risking
everything for, then his troops
will follow him into battle
unquestioningly.
Waterproof
à 5 : e A M4D combat
> € ES B. 1 Ар, e y boots
PRIVATE CALFOR
A demolitions specialist from Mykapo, Private
Yosh Calfor can be relied upon to handle the most
dangerous explosives in combat operations without
breaking a sweat. He prides himself on having
at least three grenades
within reach. Calfor’s
electrocochlear implant
helps offset hearing
loss sustained from
working with
thermal
detonators.
Collapsed
barrel A-300
blaster rifle
Long-range
communications
booster
CORPORAL MADDEL
An intelligence agent
recruited by Cassian Andor,
Rodma Maddel is an
advanced scout for urban
combat units. Upon
learning that Cassian
is part of the Rogue
One operation, she
does not hesitate to
join Blue Squadron’s
ground reinforcements.
Medpac in
belt satchel
CORPORAL ROSTOK
LIEUTENANT SEFLA
SpecForces officer Taidu Sefla officially outranks
Sergeant Melshi and Jyn Erso (who holds
no formal rank, so Sefla gives her an
affectionate brevet rank of sergeant),
but respectfully defers to Captain
Andor's unit formation. A strong,
capable soldier, Sefla has a lot of
heart that he brings to the fight
against the Empire, and he gives
his all in every mission.
Field ration and
survival kit
MERR-SONN C-35
FRAGMENTATION
GRENADE
A qualified sharpshooter specialist when part of a SpecForces
commando squad, Serchill Rostok works with Private Basteren as
his spotter, lining up long-distance targets from under cover to strike : ió
Bk xa
ا —- :
swiftly with maximum surprise. Rostok is exceptional at camouflage — m E m
and stealth. He is able to hold his breath for over 15 standard >
minutes and sit rock solid—earning the nickname Rostok the Rock.
A superstitious type, he relies on a specific “lucky” electroscope
with a pronounced drift for which he mentally compensates.
Perforated
air-cooling shroud
for rapid fire
ЕЗ =
SNIPER-CONFIGURED
A-300 BLASTER RIFLE
Ba
Collapsible
shoulder stock
Electroscope Power cell
adjust dial housing
Lie el
Fu “ri. i у
Neuro-Saav
NT-43.3
electroscope
AGRY OF REI
Transmitter
antenna with
mounted
glowrod
has displaced many
lar machine gobbles up
ODDS OF SUCCESS
Pao has no illusions about the likelihood
of success, but he never lets the odds
against him stop him. This lowly
Drabatan has ventured far from his
marshy homeworld to become a pivotal
figure in the survival of the Rebellion. PAO’S
BACKPACK
heard muttering _
in his native tongue.
nderstanding of
aping maw has a
he shapes ——
e it effortlessly.
BEACHFRONT STANDOFF
Pao is a key part of the commando mission to
sow confusion around the Citadel complex. The
Empire is caught off guard of the incursion.
SAPPER SKILLS
Pao is trained in explosives, and
his amphibious nature makes him
particularly well suited for underwater
demolitions. If the Empire had not
interfered in his life, Pao would have
Pao charges into
battle at an Imperial
landing pad, goading
his squadmates to
give it their all.
become an engineer. Study in structural
dynamics aids him in knowing where
to best place charges to bring
_ down Imperial structures.
Transmission antenna
in armored sheath
_ SUBJECT Paodok' Draba' Takat
С PLANET OF BIRTH Pipada
SPECIES Drabatan WORDS OF WAR
ne Yan Y 1 qom өх * Є 4 a Drabatese is a complex language that strings
STATUS Corporal, Rebel Alliance Specforces | 3 > i discrete syllables into unwieldy words that _
m 7
РЕНЕ пни
_ HEIGHT 1 72m (өп Bin : : е по le ae um tense,
Et -— * and other grammatical pieces of information
AGE 31 standard years a OA ow 7 re determined by volume—Drabatese is a
-singularly loud language. When circumstances
require more hushed tones, Drabatans switch to
a secondary form of communication, passing air
. through a vocal pouch that produces a softer,
croaking sound that they can vary in pitch.
Drabatese love songs are said to require no
translation due to their haunting beauty.
Folded reed
armor from
homeworld
Replacement
galven barrels
TIBANNA-JACKED BLASTER RIFLE
Pao wields a black-market blaster rifle with
an external tibanna gas chamber that amps
up its destructive power output. Such a
modification burns through galven barrels
quickly, requiring constant upkeep.
Water-shedding
fatigues
—
THE REBELLION HAS DRAWN WARRIORS from
across the galaxy— soldiers fighting to liberate
their homes and free their people from the
. oppression of the Empire. Though Bistan wants
to ensure the freedom of his fellow lakaru,
it he'd fight no matter what.
> thrill of action and is driven
line, feeling most alive when the
repetitive recoil of his heavy ion rifle thumps his
flank, and his e: ing with the roar of combat.
lakaru are an uncommon sight
in the galaxy, as they have not
developed hyperdrive technology.
Their homeworld, lakar, has
- been visited by interstellar
ade for nearly a century,
h pharmaceutical corporations
rain forests girdling the planet.
During the Clone Wars, companies _
such as Chiewab, Merisee Prime,
_ and Fabreth Medical set up major
- research installations on lakar, driving the lakaru deeper Ge
: into the jungle and straining the tentative trading o
. relationship the natives had established with the
-- Despite having only recently
left his homeworld,
| Bistan’s unending,
P^ gregarious energy
makes him popular
among fellow rehels,
though his personnel _
file lists multiple
incidents of
insubordination.
U-WING DOOR GUNNER
Stabilized
pintel
mount
Cooling
sleeve
У BISTAN'S “ROBA” M-45
COVER FIRE SPECIALIST REPEATING ION BLASTER
Bistan's specialty is maintaining directed
cover fire from the main entry hatch of a
U-wing fighter during flight and landing
operations. He pours out streams of
deadly antipersonnel fire support with his
overpowered repeating blaster, to protect
troops racing in or out of the U-wing.
Modified DH-17
blaster rifle
BUT THERE'S NO ONE
ELSE I'D RATHER
COVER ME IN А
HOT LANDING ZONE.
— REBEL SERGEANT MELSHI
REBEL RECRUITMENT
Bistan joined the Rebellion a mere six
months prior to his mission to Scarif, after
coming to the assistance of a SpecForces
team that infiltrated lakar to steal medical
supplies needed by the Alliance. Helping to
fight Imperial pursuers with well-thrown rocks
and spears, Bistan proved his ferocity, tenacity,
and, above all, accuracy under fire. As a
result, the SpecForce commandos
invited Bistan to join their fight.
Г
|
|
1
|
|
|
|
ACUITY ADVANTAGE
Having evolved in jungle canopy, lakaru like Bistan
have exceptional spatial awareness. Swinging
through the dense trees requires keen eyesight,
accurate depth perception, and quick reflexes.
Bistan is also surefooted: he uses minimal
restraining equipment when standing
at the edge of U-wing flying crafts,
relying instead on his agility and
balance to keep him safely
aboard. These attributes
combine to make Bistan
a top sharpshooter.
Liquid cooling
and ventilation
port
SUBJECT Bistan
PLANET OF BIRTH lakar
“SPECIES lakaru
` STATUS Corporal, Rebel Alliance
SpecForces
“HEIGHT 1.73m (5ft Bin) —
i AGE 22 tances увањ i
Sensitive brow tufts
aid in spatial
awareness
Principle
life support
umbilical port
Battered old space suit
offers warmth when
operating at high altitude
CANOPY COMBAT
The rebel Pathfinders who have
infiltrated the grounds on Scarif quickly
disappear into the jungle canopy. This
is their element: wilderness fighting
while camouflaged. They take to
heart Captain Cassian Andor’s orders
to make ten men feel like a hundred.
"4
'AT-ACT
TOWERING ABOVE major Imperial construction
projects are the plodding All Terrain Armored Cargo
Transports, or AT-ACT walkers. A larger version of
the standard All Terrain Armored Transport (AT-AT),
the AT-ACT walker features a dedicated cargo bed
for the transportation of heavy building materials
or combat munitions. Although not built for combat,
the AT-ACT can nonetheless pose a formidable
obstacle to infantry, as is discovered by the
commando forces of the Rogue One team.
Reinforced |
| viewport for
| crew cabin
سی
TENSE FORCES
Ataller profile may give the
AT-ACT a faster stride than an
AT-AT, but it is at the expense of
structural stability. To give the
knee joints extra strength when
carrying cumbersome loads,
an electromagnetic tensor field
keeps the overstressed motive
assembly in smooth alignment.
` WIHT
HEAVY BURDEN
The cargo module housed within the
AT-ACT’s frame encompasses nearly
550 cubic meters of space and is
capable of holding many thousands
of metric tons of raw material.
Loads are carefully managed by
stevedore droids who divide up
partial holds of ultradense
materials into manageable
trips. Powerful engines and
tensor field-supported legs
keep the massive AT-ACTs
trampling forward, from
mining sites to processing
facilities, carrying cargo in
situations where repulsorfields
are unreliable or not suitable
due to material incompatibilities.
Magnetically |
—| sealed cargo |
| container
| Weight-
| distributing
| footpad |
беш
[ Articulated | DATA FILE
| neck and
| cockpit | MANUFACTURER Kuat Drive Yards
[ 366655 tube | MODEL All Terrain Armored Cargo Transport
|
| Ladder rungs |
| to emergency |
| exithatch |
f porem | corps; as it is not technically
| container | designated a battlefield assault
| with recessed | vehicle. Tank operators, AT-AT
| winch ports | | pilots, and other combat ground
تا cd drivers in the Imperial military
are all qualified to operate it.
p 7
|
— qe
| Tensorfield |
| waveguides in
| knee assembly |
SEE ES
AFFILIATION Galactic Empire
HEIGHT 31.85m (тода Sin)
LENGTH 34.90m (114ft 6in)
CREW 2 |
WEAPONS 2 heavy laser cannons
| Taim & Bak
— MS-2 heavy
laser cannons
DRIVE CREW
The AT-ACT design does not
boast a specialized driver
BEACH DEFENSE
Though not specified as an assault vehicle, the AT-ACT is well
armed and armored to protect its valuable cargo. When a rebel
incursion threatens the security of the Scarif Citadel, Director
Krennic orders the beach secured. Ground crews seize this initiative
to move their AT-ACTs into action. Emerging from the surrounding
jungle, these behemoths blast away at the rebel commandos.
BATTLE OF SCARIF |
USING THE CARGO SHUTTLE stolen from the Empire’s Eadu
installation, Bodhi Rook ferries the Rogue One team past the
otherwise impenetrable shield barrier that envelops Scarif.
It’s a run he’s made over a dozen times before—but never
with a hold full of rebel soldiers. During the battle that
ensues, a shoretrooper lobs a thermal detonator into the
shuttle, causing an explosion that means the team must
look to find another way off the fortified world.
E
АНЕ ТИНТЕ
THE STARFIGHTER PILOTS of the Massassi
outpost are a varied lot, unified by a love of
freedom embodied in flight. Some learned their
skills in rigid Academy training, and defected
or otherwise escaped being drafted into the
Imperial Starfleet. Others are commercial fliers
who chafed at routine and sought a life of
consequence and adventure. Some are civilian
hobbyists while others are agrarian pilots. Such
myriad origins paired with outsized daredevil
egos leads to intense competition among all.
The Massassi outpost has more
pilots than battle-ready craft at any
given moment—the result of supply
difficulties and the scarcity of available
combat vessels under Imperial rule.
Fighter pilots train regularly within
ground-based simulators, competing
for a spot in Red, Blue, Green, or
> Gold Squadron. Once airborne, these
Downtime and sharad pilots all work together because trust
and reliance are necessary for survival
in the blink-and-die reality of
starfighter combat.
Landing a seat in a squadron is an honor, but a
tempered one: it results from a vacancy created by another
pilot’s injury, fatigue, or worse. It is up to the next pilot
to continue flying under an inherited call-sign.
experiences create
an easy cameraderie
between pilots.
CADET HARB BINLI
(RED SEVEN)
As a relatively new addition to the
Red Squadron roster, Harb Binli of
Eriadu has barely worn through
his first flight helmet. His
talent and tenacity means he
particularly excels at strafing
runs against point defense
cannons. Binli has already
absorbed many lessons
from his more seasoned
wingmate, Pedrin Gaul.
Control
conduit/ life
support umbilical
LIEUTENANT ZAL DINNES
(RED EIGHT)
When encroaching Imperial patrols
forced the rebels to scuttle their
Tierfon launch base, the defending
Yellow Aces Squadron was broken
apart and reallocated to other
outposts. The largest contingent—
four pilots—transferred to
Yavin 4, with Zal Dinnes and her
wingmate Jek Porkins (Red Six)
assigned to Red Squadron.
Insignia of the
Tierfon Yellow
Aces
LIEUTENANT NOZZO
NAYTAAN (RED NINE)
Nozzo Naytaan fled
his job as a test
pilot for the
Corellian
Engineering
Corporation
when Imperialization
meant he would be building
and testing TIE fighters.
LIEUTENANT ATTICO WRED
(GREEN FOUR)
Attico Wred was a TIE fighter
pilot before defecting to the
Rebellion after disobeying
a direct order to fire on
unarmed civilian craft. He
has a boisterous rivalry
with a fellow Corellian,
Nozzo Naytaan.
SA
CADET PEDRIN GAUL
(RED FIVE)
From Denon, Pedrin was a
transport flier shuttling
passengers and freight
through the congested
skylanes of his
metropolitan
homeworld. After
assisting the exodus
of fugitives wanted
by the Empire, Gaul
was branded a
traitor and was
forced to flee.
Signal flares
in ankle belt
D
i CAPTAIN BROAN DANURS
o Y (GREEN TEN)
3 \ \ b Formerly a Y-wing pilot who
ё we flew in Gold Squadron while
dl AA stationed on Dantooine,
^ Danur was transferred
м "> tofill an X-wing
T vacancy. He is a
close friend to his
mentor, Davish Krail,
who flies as Gold Five.
|
£
Ё
LIEUTENANT WION
DILLEMS (GREEN TWELVE)
Dillems grew up in the wilds of
Yelsain among the rustic Tree
Dweller tribes living in the dense
orests. Unlike most of his
compatriots, he was drawn to
echnology because it afforded him the
ability to fly at unimaginable speeds.
Ordinarily based on Raddus’ Profundity,
Dillems stepped in to fill the Green Twelve
slot vacated by Puck Naeco, who broke an
ankle in a rough landing.
G-Force
indicator and
warning klaxon
Wrist-mounted
comlink/ beacon
MAJOR RALO SURREL
(RED ELEVEN)
A dashing stunt pilot who
flew rickety antiques for
the amusement of Outer
Rim audiences, Ralo is
now wingmate to
Red Leader,
Garven Dries.
COMBINED FORCES
GENERAL MERRICK’S PERSONAL COMMAND,
Blue Squadron, is a unit expanded well beyond
the usual 12 ships of the same design. It is a
mix of T-65 X-wings, assigned to escort UT-60D
U-wings into combat zones, and a small number
of Y-wings reallocated from squadrons in
neighboring sectors. The raid on Scarif is
its first fully mobilized mission, with all wings
scrambled for the all-out effort to assist Jyn
Erso’s unsanctioned Rogue One operation.
As the fighters of Red, Green, and
Gold Squadron engage the capital
ship and starfighter forces in orbit
above Scarif, it is Blue Squadron
that is tasked with taking the battle
down to the dirt. The team seizes
advantage of an open shield gate
that is in the midst of allowing
transit to a cargo-laden transport
shuttle, and streaks past the
Jaldine Gerams (Blue Three)
plunges her X-wing
through the shield gate lumbering ship. Anti-starfighter
controlling access to point defense cannons track the
the skies of Scarif.
fighters as they approach, but most
of Blue Squadron survives this initial volley. The plan is for
the U-wings that reach Scarif's Citadel beach to unload
additional troops to assist the Rogue One team, while
General Draven leads the X-wings in defending the infantry
from incoming TIE strikers.
U-wing and X-wing pilots
stand at the ready for
any last-minute dispatch.
General Merrick gives
the word: the mission
to Scarif is on.
HEFF TOBBER (BLUE EIGHT)
Lieutenant Heff Tobber had been stationed as a transport pilot at the
rebels’ Crait outpost prior to its abandonment. Upon transfer to Base
One, he joined Blue Squadron, where he became one of the most
popular U-wing pilots around for his sense of humor and booming
voice. Unable to reach the Scarif shield gate before it closes, he peels
off and joins Green Squadron in the battle above the planet. When
circumstances require, Tobber also serves as an X-wing pilot.
Flight helmet
with integral
comlink and
intercom link
JALDINE GERAMS
(BLUE THREE)
Computer specialist Gerams
logged many hours
in self-authored
i _ Starfighter simulator
\ programs and jumped at
the opportunity to fly a
real X-wing when the
Alliance arrived on her
homeworld of Fresia.
CALUM GRAM (BLUE NINE)
A former search and rescue
pilot for the Wilderness
Preserve service on
Atrisia, Gram developed
precision flying 2
skills weaving Үл
and landing f ad {
an airspeeder А
through the |
dense brush, :
=A, PARILRITTA (BLUE TWELVE)
C рагії Ritta of Generis pilots
one of four Y-wing fighters
transferred from Atrivis
sector to bolster the
, Profundity's starfighter
\ forces. For the Scarif
mission, he serves
in Blue Squadron.
BARION RANER (BLUE FOUR)
Hailing from Ord Mantell, Raner has
served with General Merrick for three
years. Raner authored the definitive
combat basics manual оп T-65 piloting
that is used as a primer for new pilots
within the Rebellion. Alliance
Intelligence purposely leaked it
onto the Imperial HoloNet, where
it’s been accessed by many
‘ aspiring rebel pilots.
LAREN JOMA
(BLUE ELEVEN)
Warrant Officer Joma is Bistan’s
“delivery driver”—piloting the U-wing in
which the lakaru serves as a door gunner.
Even-keeled Joma tolerates Bistan’s
exuberance because the “space monkey,’
as she jokingly nicknames him,
is an unerring shot. Joma
flies with a steady hand to
help Bistan’s aim remain
true and keep
everyone on
board alive.
FARNS MONSBEE (BLUE FIVE)
Though Monsbee works well within
a squadron, he has logged more
solo flying hours than the rest of
his wingmates as he was the sole €
snubfighter pilot on the tiny, i High-
ill-supplied rebel outpost y E a atmosphere
on Cassidode VI. At Yavin { : ? specialist life
he often serves as a ; e : = support pack
recon flier. Р >
ALL WINGS REPORT IN
REBEL PILOT HELMETS 777
THE REBEL STARFIGHTER PILOTS assembled at Yavin 4
come from scattered cells now accumulated at the
most well-supplied launch base in the growing
Rebellion’s history. The personalized iconography
worn by pilots on their helmets occasionally identifies
their unit origins, homeworlds, or beliefs. Such
variation cannot be found within Imperial ranks.
Polarized
„— plastex visor
Raised ridge
conceals comlink
—— antenna
LUE SEVEN) BARION RANER (BLUE FOUR) GAZDO WOOLCOB (GOLD SEVEN)
PEPE: APO P9 P AA OA 9 4 4 JSS,
Comlink
vo-pickup
HEFF TOBBER
(BLUE EIGHT)
Modified
Wren Phoenix
crest
e.
9 4 57
мі"
KOENSAYR BTL-A4
Y-WING FIGHTER
A BATTLE-TESTED DESIGN dating back to the Clone
Wars, the Y-wing was one of the earliest vessels
Ring houses articulated
vectrals that steer ion thrust
for increased maneuverability
used by the fledgling Rebellion in its fight against
the Empire. Their relative ease of access as
outdated war surplus makes them popular with
rebel forces, as do their reliable hyperdrive, sturdy
construction, and powerful ordnance. The rebel
group on Yavin 4 stocks its Gold Squadron entirely
with Y-wing fighters, with additional units rotating
into Green or Blue Squadron as needed.
Baffled
hyperdrive
tachyonic
exhaust port
Turbo-modified
R200 starboard
ion engine
DATA FILE
MANUFACTURER Koensayr Manufacturing
MODEL BTL-A4 Y-wing assault starfighter /
bomber
AFFILIATION Rebel Alliance
HEIGHT 2.44m (8ft)
CLONE WARS VETERAN
Though the Y-wing boasted an excellent track record as a Clone Wars
long-range bomber, the emphasis on capital ships as the backbone of the
Imperial Starfleet meant the hyperdrive-equipped ship fell out of favor.
Koensayr lost a major government contract, and was forced to sell its
surplus to local planetary defense markets before the Empire intervened.
Unsold stock and repossessed Y-wings were then destined for reclamation,
where they would be scrapped for parts. The Rebellion was able to spare
many Y-wings from this fate with raids that liberated the ships.
LENGTH 16.24m (53ft 3in)
CREW 1, plus astromech droid
ATMOSPHERIC SPEED 1,000 kph (621mph)
WEAPONS 2 laser cannons, 2 ion cannons,
ordnance launcher (proton and ion torpedoes)
Main coolant
pump reservoir
Composite
signal-
transparent
dome covers
long-range
targeting
sensor array
Jon engine
exhaust nozzle
er z STURDY FIGHTER
The smooth fairing that once encased
=, the Clone Wars-era Y-wing has been
discarded, revealing the superstructure
and componentry underneath. This
emphasis of utility over aesthetics
embodies many rebel ideals—the sturdy
Y-wings are pressed into almost nonstop
service and bear many a scar to prove it.
The Y-wing retains its familiar wishbone
shape, dominated by immense R200 ion
fission engines. Its sturdy hull and shields
allow it to survive incoming flak hits during
bombing runs, though it is vulnerable in
dogfights with much swifter TIE craft.
Taim & Bak IX4
laser cannon
SW-5 ion
cannon turret
Astromech
droid secured
in socket
Transparent
wraparound
canopy
Squadron
coloration
(Gold)
TWIN ION ENGINE FIGHTER
IE FIGHTER
WITH ITS RECOGNIZABLE SILHOUETTE, the SHORT-RANGE FIGHTERS
TIE fighter has become the de facto symbol As capital ships are preferred for tactical discussion |
Я А» r among the Imperial Starfleet, its starfighter units are not |
of Imperial space superiority. TIE fighters ае one. Hn independence enjoyed gl the equivalent |
inexpensive to produce, and the Empire churns rebel pilots. All but the most specialized TIE fighters |
them out in factories scattered across the lack hyperdrives, making them dependent on launch
М > bases or carrier craft for deployment. The lack of
galaxy. More than capable of enforcing Imperial a hyperdrive and resultant navigational systems
law against unarmed or lightly defended alongside extended life support and fuel
combine to cut down on the TIE’s mass.
civilian transports, the TIE fighter has recently
begun facing a more formidable enemy in the
starfighters of the Rebel Alliance. au
panel energy
collection hub
FIGHTER OF THE LINE |
The TIE fighter's design lineage can trace roots to the Jedi [|
interceptor flown in the late Clone Wars era, as well as j
the V-wing fighters that continued to fly during the
early years of the Galactic Empire. The current
model is designated the TIE/In, or line edition.
ATT |
Top hatch forms primary
access point when not
rack-mounted
DATA FILE
MANUFACTURER Sienar Fleet Systems A A d
MODEL TIE/In space superiority starfighter & á
AFFILIATION Galactic Empire > Ы ү |
HEIGHT 8.82m (28ft 11in) SHOWDOWN
LENGTH 7.24m (23ft 9in) A At the stratostructure on top of the Scarif Citadel,
Jyn Erso stares down a TIE/In starfighter. The TIE has
vertical takeoff and landing (VTOL) ability thanks to
ATMOSPHERIC SPEED 1,200kph (746mph) repulsorlift cyclers in its wing struts—reducing its
WEAPONS Twin laser cannons already small mass to negligible weight—and
micropositioning thrusts from the twin ion engines.
CREW 1 pilot
Reinforced
helmet with gas
transfer hoses
Emergency
atmospheric
unit
TIE COCKPIT
Though TIE vessels have minimal, perfunctory
oxygen scrubbers and pressurized
atmospheric seals, TIE pilots routinely wear
full flight gear as a precaution. The
unshielded ship is vulnerable to micrometeor
impacts and combat damage hull breaches.
Comlink /
transponder
in shockproof
belt case
Pressurized
fuel tankage Positive-
gravity
pressure boots
| TIE FIGHTER PILOT
Micro-crenulated E | Graduates from prestigious flight academies across the galaxy
solar absorption | g undergo rigorous training and testing to become TIE pilots.
surface | The final phase of testing often occurs onboard a larger
battleship, such as a Star Destroyer, in order to expose cadets
to realistic and relevant surroundings. In the growing fight against
the Rebellion, this means TIE cadets may undergo literal trials by
fire, plunged into combat situations where to excel is to survive.
THE MILITARY DESIGN THINK TANK on Scarif is tasked
with developing and testing next-generation designs,
subjecting them to shakedown flights, monitoring their
performance, and recommending whether or not they
see more widespread deployment. The TIE striker is
one such experimental design. A streamlined variant
of the classic TIE fighter, the striker is specifically
constructed for atmospheric patrols over Imperial
ground-based installations. Though the TIE/sk is
capable of suborbital flight, it is best deployed in
low to high atmospheric defense capacity.
Duplex solar gather
surface / frictional
heat convertors
TOP VIEW
AERIAL COCKPIT
The TIE striker’s enlarged cockpit houses
a crew of two—the pilot and an optional
hombardier/gunner. The larger hull
allows for ordnance payload and
increased acceleration compensator and
emergency repulsor features. Though
lacking a true ejection system, the
striker has emergency repulsors
designed to help soften crash landings.
Honeycombed
titanium hull
UNUSUAL VERSATILITY
The Imperial starfleet generally frowns on versatility, believing
SIDE VIEW УУЛ : instead that the Empire succeeds through its large number of ae ae
specialized ships. The TIE striker is a bold departure from
REPULSORLIFT FIGHTER that philosophy, and is therefore unpopular among the higher
Ventral bomb
port (closed)
Though twin ion engines supply the striker with forward thrust, it ranks. Admiralty sees a distasteful indecision and wasteful
has more advanced and specialized repulsorlifts for its atmospheric expenditure in multiple design features such as the striker's
operations. These antigravity engines reduce the overall weight atmospheric streamline, ground support cannons, tactical
of the craft, giving the ion engines greater push.
bombing suite, and pressurized life support. Pilots,
conversely, are immediately enamored by such novelty.
|
©
ГЛ Ge
quadanium >
steel foil brace
| SFS L-$9.3 laser
cannon
DATA FILE
MANUFACTURER Sienar Fleet Systems
MODEL TIE/sk x1 experimental air superiority fighter
AFFILIATION Galactic Empire
HEIGHT 2.95m (9ft 8in) LENGTH 17.18m (56ft 4in)
CREW 2
SPEED 1,500kph (932mph)
WEAPONS 4 fire-linked laser cannons, 2 heavy
laser cannons, proton bomb chute
Repulsorlift field
transmission plane |
Р Е = 190, WINGS OF EMPIRE
| Standard TIE fighters are at a disadvantage in atmospheric maneuvers, a fact
| that enemy pilots have long exploited. The TIE/In's lightweight construction and
outside of a vacuum. The TIE striker solves this problem with a more solid
ao | l large hexagonal panels are vulnerable to crosswinds and are difficult to steer
Reinforced |
stabilizing mass in its central hull bracketed by tilting servo-mounted wings.
viewport facet
Magnatomic locking mechanism Foil articulation
motor housing
Wing-mounted Rigid quadanium
laser cannon steel foil brace
о
E
M AD
Bombardier sight
targeting computer
Paired ionic thrust
generator
Repulsorlift field
radiator rings
Articulated joint
for variable geometry
configurations
Heat sink venting duct
Proton bomb and
orbital mine dispenser
Structure bolt
СУ
M gs:
MORE SPEEDER THAN FIGHTER
The repulsor-cores in the TIE striker's body frame not only reduce
he overall gravitational weight of the craft, but also act as invisible
ailerons, sculpting the air that flows around the fighter. Built to
a design based on antiquated exodrive craft and Geonosian
starfighters, the fighter features localized repulsor fields
hat help improve its aerodynamic qualities. Though
he striker’s cockpit is pressurized for high
atmospheric flight, its repulsors grow less
effective the further from a gravity
well it soars. Nearly every design
eature incorporated to make
it an agile atmospheric
flier becomes
a liability
in space.
Dispersal rack
with ArmaTek
VL-61/79 proton bombs
Insulated power
distribution line leading
to wingtip laser cannons
Steering column
control stem
SFS 1-59.3
laser cannon
Corrugated solar gather - E È
j SFS Н-51 heavy e
array maximizes limited ^ à
Surface area laser cannon а
ROSS-SECTIONAL VIEW
T
ATTACK MODE
a BL 3 P Unusual for a TIE-series craft, the striker's solar panel
© d f H is articulated. The upward configuration is meant to
1 i : E i a maximize VTOL (vertical takeoff and landing) capability,
increasing lift for rapid ascent or descent. The
horizontal configuration is built for linear velocity,
Solar power
collection lines
STARFIGHTER PILOTS refer to atmospheres as “goo”—a transforming the TIE striker into a blazingly fast dart
derisive reference to the drag experienced in suborbital flight. nn |
its E N У x The fighter is remarkably well armed, with a pair
Although it is a different discipline, in-air combat draws upon of fixed heavier cannons to provide ground support
the same core strengths of tenacity, reflexes, and daring as and anti-armor fire. The wingtip mounted cannons
are rapid-fire and well designed for aerial combat.
space combat. TIE pilot culture has pitted atmospheric fliers
against space-based pilots in a never-ending contest of
dominance. Striker pilots tend to call fighter pilots “vac-
heads,” while fighter pilots retaliate with “ground hogs.”
THE PROFUNDITY
THE PEACEFUL MON CALAMARI learned harsh and costly Reinforced
lessons during the Clone Wars. So when the Empire brought battleship hull
them more subjugation, the aquatic race was ready. A launch
of spaceworthy structures that the Empire mistook to be city
buildings heralded a mass exodus from the watery world to
safer shoals in the depths of space. The Mon Calamari took
to converting these transports and passenger liners
into capital ships, with Admiral Raddus’
Profundity one of the first
ready for battle.
Armored forward
hull conceals
redundant 7 ў
deflector shield
projectors
SUBLIGHT DRIVES
12 repurposed Kuat Drive Yards
sublight thrusters propel the
massive warship Profundity
through realspace, giving it the
cruising speed required to stay
apace with its escorting Ak
swarm of starfighters. tj
е
Armored outrigger
fin holds bridge
pod
THE MON CALAMARI
Pre-war, the Profundity was the
Weapon collar
modification
added during
refitting
..”
Tractorbeam |
projector port
KDY Gemon-15
sublight ion
drives
civic governance tower of
Nystullum—an underwater
city beneath the northern ¡ce
floes of the planet. Much of
the crew consists of the
city's defense staff, led by
its former mayor—and
now fleet commander—
Admiral Raddus.
Y >: A
PREDATORY PROFILE
The blade-like fins extending from the tapered hull of the Profundity are
deliberate design choices meant to trigger deeply coded fears of predatory
fish in the Mon Calamari. The dorsal mast is a sensor cluster and transmission
mast that keeps Admiral Raddus keenly aware of shifting battle conditions.
The ventral mast suspends the command bridge beneath the bulk of the vessel.
Aft deflector
shield
no Dorsal
m > communications
transmission mast emitter array
| E 4
ш >= un
| x :
X > P oi
A
э Я
| 2
= ees
in Engineering plane
and sublight drive
/ shroud
| Armored collar
Y holds primary
з ; å weapons and
: Ordnance \ shield generators
= A аг pod
№ a
: GAPING MAW
What was once an enormous civic atrium has A
been hollowed out of the Profundity's primary X >
ull and converted into a docking bay and N
starship service area. Magnetic containment
ields keep oxygen and pressure in the hollow,
+ while overlapping deflector shields prevent
E ; enemy fire or ordnance from breaching what 25.
would otherwise be а vulnerable break. Service 3
- 1 3 7 Hangar traffic
| ifts lower starfighters from interior hangar decks B
| s E control suite
| | ! or immediate scramble into combat zones.
\ i
1
i
MANUFACTURER Mon Calamari independent engineering
MODEL MC75 modified star cruiser
AFFILIATION Rebel Alliance
HEIGHT 435.56m (1,429ft) Command Heat
LENGTH 1,204.44m (3,951ft 7in) bridge and dissipating
receiver arra, engineerin,
in CREW 3,225 A анны
RE structure
y ATMOSPHERIC SPEED 650kph (404mph)
f WEAPONS 20 point defense laser cannons, 12 broadside
turbolaser cannons, 4 heavy ion cannons, 12 proton
torpedo launchers, 6 tractor beam projectors
SIZE COMPARISON |
COMBAT VESSELS ARE CATEGORIZED in scales, with labels
depending on specific schools of thought and battle tactics.
Until the birth of the Death Star, “capital” scale ships were
the largest unit-type to be factored into combat strategies.
This class of warship grew throughout the Clone Wars, with
the Imperial ships of the line stretching to over a kilometer
long. Though capital ship vessels are, according to Imperial
military doctrine, only threatened by vessels of the same
class, the Rebel Alliance is seeing increasing success with
surgical strikes launched from their starfighters. Whether
or not similar success can be had against something as
7 Imperial combat assault tank
10 Imperial TIE striker Length:
8 Rebel Y-wing starfighter Leng
9 Rebel U-wing gunship/transport Length: 24.98m (82ft)
1 The Profundity Length: 1,204.44m (3,951ft 7in)
2 Imperial Star Destroyer Lengt
3 Imperial cargo shuttle Length:
* 4 Imperial TIE fighter Height: 8.82m (29ft)
5 Imperial Delta-class shuttle Height: 32.23m (105ft 8in)
6 Rebel X-wing starfighter Leng
: 1,600m (5,280ft)
35.50m (116ft Sin)
h: 13.40m (44ft)
Length: 7.30m (24ft)
h: 16.24m (53ft 3in)
7.18m (56ft 4in)
11 Imperial AT-ACT walker Height: 34.90m (114ft 6in)
12 Imperial AT-ST walker Height: 9.04m (29ft 8in)
Even the massive
Imperial Star
Destroyers are
mere specks when
compared to the
enormous size of the "
Death Star. Warships *
О UNTHINKABLE SCALE =»
E
E d Aa clear theway for the -7
gargantuan as a Death Star remains to be seen. d ee
- E Weapon to be fitted. 274
LI * LI LI
Om 2m 4m бт 8m 10m [4] | [5]
200m 300m 400m 500m
A STAR WARS ST
With Rogue One: A Star Wars Story, Lucasfilm Ltd. embarked on an
unprecedented new format for big screen Star Wars storytelling.
From the start, the idea was irresistible when condensed to its most
basic form: “the story of the rebels who stole the Death Star plans.”
Constructing that story for the screen required relying on the best
of Lucasfilm traditions as well as a bold new vision.
INGEPT ART
BY TRADITION, long before a Star Wars tale is finalized,
the director unleashes a team of concept artists to
imagine possibilities without restraint. It is here that a
steady stream of ideas—some feasible, some decidedly MISSION Т0 EADU
less so—emerge to help shape and steer the storyline. An earlier iteration of the story set Eadu as the first mission undertaken
Production designers Doug Chiang and Neil Lamont by the team. In this incarnation, “Sergeant Jyn Erso” was a seasoned
rebel agent—hence the hashmarks on her helmet in this artwork by
led teams on either side of the Atlantic Ocean, in John McCoy. The illustration features Jyn on a multi-prong U-wing
San Francisco and at Pinewood Studios respectively, to insertion into the occluded world of Eadu.
imagine heroes, villains, aliens, technology, and settings
that would, after a lengthy process of winnowing,
make their way into Rogue One: A Star Wars Story.
Costume concept artist
Adam Brockbank produced
this early incarnation of
the primate door gunner,
affectionately known in
preproduction as “Space
Monkey” (later named
Bistan). From the start, this
ENSEMBLE TEAM Po e teres
primitive, primal energy.
The Rogue One story was always
intended to revolve around an ensemble
crew undertaking a heist-focused
military mission. This art, by Jon McCoy,
envisions most of the team— Вахе,
Chirrut, K-2, Jyn, and Cassian—in
the stark landscape of Jedha.
HOLY CITY
Matt Allsopp’s exploration of the mesa-top Holy City of Jedha
used Middle Eastern architecture as a starting point for design.
The location would come to represent the ideals of a Jedi in a
film devoid of their presence.
TANK PATROL
Kevin Jenkins’ illustration shows an Imperial patrol,
complete with armored hovercraft. When realized in
production, this armored vehicle retained its caterpillar
tracks, losing the adjective “hover” from its description.
IN PRODUCTION
PINEWOOD STUDIOS became the hub for the production
of Rogue One: A Star Wars Story. Located 32 kilometers
(20 miles) outside central London, Pinewood is a storied
film studio, made famous as the place where the legendary
James Bond lived out most of his larger-than-life TIES IN ACTION
adventures. Lucasfilm secured a lengthy agreement to Many of the code names for Rogue One were inspired һу the historical
А : Я h, th i iven “ iet
make Pinewood the production base for future Star Wars Ol WAT AA UCN Sinis A
Я : with TIE fighters described as “MiGs,” named after Soviet aircraft.
projects and, as Rogue One underwent production, The Here, a digital camera captures the cramped confines of a TIE cockpit.
Force Awakens was wrapping up, and Star Wars: Episode
VIII was beginning preproduction. The community of Star
Wars filmmaking creatives grew with each passing month.
SPACE MONKEY TESTS
Director Gareth Edwards closely examined each new creation to emerge from the creature shop of Neal
Scanlan, to gauge each alien's star potential. “Space Monkey"—known for months by its production
code indicator of “6007"—was an early standout. Using a slip-on mask filled with servo-driven
articulation, Space Monkey became an ensemble performance from Nick Kellington (the man under the
mask) and the remote control operators driving his expressions.
DROID AUDITION
The cryptic code names adopted for the
production labeled the various Rogue One
droid characters as "senators," and this
homestead droid—code-named "S001"—
was one of the earliest creations. It was
realized as a practical rod puppet shot on
location in Iceland, with its performers
digitally removed from the final shot.
GEARING UP
The prop department
manufactured an arsenal of
rebel and Imperial small-arms.
Many were built around Airsoft
guns to produce realistic recoil
and interaction cues for the
performers carrying them.
STANDING BY
With the mantra to capture
original trilogy elements | h 1 ER
“how you remember it,” ie RS > SE TRADITIONAL PLAYER
fighter pilots wore polished à a ч, ме : z A veteran of three Star Wars movies,
flightsuits, rather than the P Y ? — Warwick Davis returned for Rogue One,
dyed boiler suits seen in the жу; : а nn once again playing a character whose
original 1977 Star Wars movie. n name starts with “W”—Weeteef Cyu-Bee.
b
»APTURING MOROFF
Hairy Moroff (played by lan Whyte)
started out as a rebel character named
Senna before ending up as a background
character in Saw's militia. Here, the
creature character (coded GO30) stands
before an array of photogrammic analysis
cameras that capture every possible angle
for future effects and product use.
THE SHOOT
CAMERAS ON ROGUE ONE: A STAR WARS STORY began
rolling in the summer of 2015. Director Gareth Edwards
favored a dynamic shooting style, with many sequences
being “caught” by handheld cameras as if in the thick of
spontaneous action. To best facilitate this seemingly wild,
yet methodical, approach, the production used digital
cameras for maximum flexibility and shooting time.
Crewmembers would in some cases dress as extras,
so that takes that might accidentally capture a
stagehand or gaffer could still be used.
LED HYPERSPACE
To best capture the cinema verité
documentary style that Edwards
favored, many of the effects-heavy
sequences benefited from large-scale
LEDs. These projected pre-rendered
visuals of postproduction effects |
work—lending the production authent
performance and lighting cues.
BEACHFRONT ACTION
The tropical landscape of Scarif was created in the decidedly non-tropical Bovingdon,
north of London. Sand and imported palm trees helped frame the landing field where the
Rogue One team would infiltrate Imperial headquarters, but the full landscape would be
realized by digital set extensions created by Industrial Light & Magic (ILM).
THE REAL DEAL
Intense battlefield action
captured on location in the
Maldives filled out the Scarif
sequences. Rebels and
Imperials faced off in the
shallow seawater surrounding
the spectacular reefs.
CAPTURING K-2S0
Throughout production, actor Alan
Tudyk wore a specially printed
motion-capture suit to
translate his movements
into what would drive the
computer-generated
character of K-2S0.
To bring Alan up to
K-2's two-meter
(seven-foot)
height, he played
most of his scenes
wearing stilts.
PINEWOOD BACKLOT
The Pinewood backlot
became the Holy City of
Jedha after an extensive
set build. Street blocks and
intersections filled most
of the frame, with set
extensions painstakingly
created by ILM to fully
realize the ancient city.
BEHIND THE SCENES
During the shooting of Rogue One: A Star Wars
Story, the Canary Wharf stop on the London
nderground was transformed in the dead of
night into the bustling interior of the Scarif
Citadel. The production crew had one night to
capture their footage, before returning the
station to normal with commuters none the
wiser the next day. Between takes, stormtrooper
and shoretrooper extras caught some rest
beside the iconic Underground symbol.
bise
Ae
RARAS NOLL LEE
se
дае line ——
Westbound -
platform |
INDEX
Main entries are in bold
A
Ablund, Fassio 77
Adema, Lieutenant Mytus 120-21
Advanced Weapons Research
Division 28, 108
Alderaan 50, 51
Alliance to Restore the Republic see
Rebel Alliance
Allsopp, Matt 189
Amidala, Padmé 40
Andit, Jalice 77
Andor, Cassian 52-53, 61, 70,
136, 137, 144, 149,
and Jyn Erso 54
and К-250 56
Anomids 73
Apostate 77
Arakyd Industries 56
Arbmab, First Sergeant Jimmon 99
B
AT-ACT (All Terrain Armored Cargo
Transport) 164-65, 185
AT-AT 164
AT-ST (All Terrain Scout Transport)
104-05, 184
backpacks 18, 89, 135, 158
Barso, Woan 75
Base One 38-39, 58
Basteren, Private Arro 154, 157
battle droids 56
Binli, Cadet Harb (Red Seven) 168,
173
Bistan 160-61, 171
movie character development
188, 190
BlasTech A-180 blaster 35
BlasTech A280-CFE blaster 53
BlasTech A-300 blaster rifle 155,
156, 157
BlasTech A310 77
BlasTech DH-17 blaster 154
BlasTech 01-17 blaster rifle 75
BlasTech E-110 29
BlasTech SE-14 29,123 -
- Blue Leader see Merrick, General
Antoc
C
C2-B5 123
Caitken 42
Calfor, Private Yosh 156
cargo shuttles see Zeta-class cargo
shuttles
Casrich, Corporal Eskro 156
Catacombs of Cadera 68, 69,
82-83, 86
Cavern Angels 75, 86
Cavwol, Ensign Yort 123
Central Isopter 74, 77
Chasser, Lieutenant Tobix 121
Chiang, Doug 188
Church of the Contained Crescent
82
Church of the Force. 18, 77
Clan of the Toribota 73
clone troopers 130
Clone Wars 10, 16-17, 40, 80,
106, 108, 130, 174-175
Cole-Truten, Dobias 75
combat assault tank. 102, 184
cross-section (TX-225 Occupier)
98-99
comlinks 19, 35, 59, 89, 156, 169,
170, 172, 173, 177
Confederacy of Independent
Systems 53, 80
D
D4-R4B (Arforb) 58
Dantooine 38
Danurs, Captain Broan (Green Ten)
169, 173
Darcc, Captain Hindane 116
datatapes 146, 147, 150
Death Star plans datatape
cartridge 150
data vault 146-47, 150-151
Dauntless 117
Davis, Warwick 191
Death Star 10-11, 88, 108, 109,
112-15, 121, 122, 142
plans 150-51
scientists 128-29
death troopers 24, 28-29, 125
Decraniated, the 74, 77
Deezling, Kent 123
Defstat 133
dejarik 83
Delegation of the 2,000 51
Delta-class shuttle T-3C 24-25,
184
cross-section 26-27
Delto, Colonel Haxen 48
Devastator 110, 116
Dillems, Lieutenant Wion (Green
Twelve) 169, 172.
Draven, General 34, 37, 44-45,
48, 52, 137, 170
Dries, Garven 46, 169
DT-29 heavy blaster pistol 108,
109
E
E-11-blaster rifle 96, 130
E-22 blaster rifle 154
Eadu 11, 88, 124-25, 130,
136-37, 142
Edwards, Gareth 190, 192
eggmates 87
Electrobinoculars 135
electroquadnoculars 134
Emperor see Palpatine, Emperor
Empire 10, 120
Erso, Galen 36-37, 44, 53, 88,
125, 126-27, 144
on Lah'mu 15, 18, 19, 21,
30-31, 108
on Coruscant 16
on Eadu 124, 136
Erso homestead 15, 20-21
Erso, Jyn 34-37, 40, 46, 53, 54,
BA i ;
. childhood on Lah'mu 16, 18-19,
F
4D6-J-A7 122
Force, the 70, 90, 91
Force Awakens, The 190
Forell, General Dustil 49
Fortuna, Beezer 85
Fortuna, Bibb 85
Frobb, 2nd Lieutenant 23
a
6
G2-1B7 82-83
Galactic Civil War 38
Galactic Empire see Empire
Galactic Republic see Republic
Galactic Senate see Senate
galaxy 10-11
gambling 88
games 21, 83
Gaul, Cadet Pedrin (Red Five) 169,
172
Gavia, Lieutenant Niles 120
Geonosis 115
geothermal energy 20-21
Gerams, Jaldine (Blue Three) 170,
171, 173
Gerrera, Saw 15, 34-35, 40, 50,
__ 52,53, 69, 75, 80-81, 88,
115 e :
Gor, Euwood 85
Grafis, General Baccam 49
Gram, Calum (Blue Nine) 171, 172
Great Temple (at Massassi site) 39,
155
Green Squadron 39, 169, 170
grenades 29, 157
ground assault vehicles (GAVs) 98,
100-01
drivers 102-03
Guardians of the Whills 73, 90-91,
94
weapons 96-97
Gut, the 69, 83
Halvax, Crewman Todes 123
Harinar, Major Capin 49
HECIL (High Energy Concepts and
Implementation Labs) 128
helmets
Rebel Alliance 47, 155
pilots 172-73
stormtrooper 134
Hepho, Nik 77
Holy City see Jedha City
. hypermatter reactor 150, 151
hyperspace routes 68
mperial personnel
command 120-21
support 122-23
mperial research facility 88
Imperial Security Bureau 77, 108,
122
Imperial Space Ministry 143
mperial Starfleet 64, 168, 178
mwe, Chirrut 60, 90-91, 92,
96-97, 136, 145, 166
ncom Corporation 62, 64
ndustrial Light & Magic (ILM) 193
Ined, Valwid 75
Insignia
Imperial 57, 120, 128
Rebel 48, 168
Isde Naha 73
J
Jebel, Senator Nower 50
Jedha 11, 52, 60, 68-69
Jedha City (Holy City) 69, 70, 79,
90, 114
battle 92-93
pilgrims 72-73
civilians 74-77
children 76
` Jedi 18, 44, 68, 70,
110
K
К-250 36, 56-57, 60, 61, 70, 92,
136, 144, 145, 149
character creation 193
Kappehl, Private Farsin 154
Kellington, Nick 190
Kenobi, General Obi-Wan 110
Koensayr Manufacturing 46, 174
K-OHN (Kone) 76
Krail, Davish 169
Krennic, Orson 28, 108-09, 167
and Death Star 28, 30, 31, 113,
114, 116, 119
and Galen Erso 11, 16-17,
30-31, 124-25, 126-27
and Grand Moff Tarkin 113, 114,
116, 118-19
shuttle 24-27
Kuat Drive Yards 117, 105
kyber crystals 11, 18, 79, 82, 84,
97, 119,126, 128, 129, 135
cargo shipments 69, 88, 101,
102, 125, 141, 142, 145
containers 80, 98
energy transformation sequence
80, 113, 128 ;
. Jyn's pendant 18
Malbus, Baze 60, 90, 92, 94-95,
96-97, 136, 145, 166
Massassi outpost 38, 39, 46, 48,
58, 168
Great Temple 39, 155
McCoy, Jon 188
medical droids 82, 83
Mefran, Corporal 155
Melshi, Sergeant Ruescott 36, 156
Merrick, General Antoc 44, 46-47,
48, 60, 170, 171
Milio, Rasett 128
Milvayne Authority, the 75
mining 69, 84
Ministry of Economic Development
20
Ministry of Science 129
Mon Calamari 42-43, 182, 183
Monsbee, Farns (Blue Five) 171,
173
Moroff 84, 86
movie character development
191
Mothma, Mon 34, 36, 38, 40-41,
42, 50
mouse droids 123
MSE-6 di
Mustafar
Ock, Cycyed 85
Ondoron 80, 8
Onopin, Vlex 128
Onoran, General Pitt 48, 60
Organa, Bail 38, 40, 50-51, 62
Operation Fracture 37, 44, 58, 60,
92, 144
Organa, Leia 51
Outer Rim 10, 20, 38, 44, 130,
140
p
Palpatine, Emperor 28, 40, 48,
109, 119
as Supreme Chancellor 40, 110
Pamlo, Senator Tynnra 51
Pao (Paodok'Draba'Takat) 158-59
Pathfinders 154, 155, 156, 163
Phest, Silvanie 73
Phirmists 69, 76
Pinewood Studios 190
Pipada 158
plasma cutters 147
R2-BHD (Tooby) 39, 59
R3-S1 (Threece) 59
Raddus, Admiral 42-43, 49, 169,
182, 183
Ramda, General Sotorus 120
Raner, Barion (Blue Four) 171, 172
Rarified Air Cavalry of Virujansi 47
Rebel Alliance 34, 35, 36, 38, 40
Alliance Cabinet see rebel
senators
Alliance High Command 38,
48-49, 154
Alliance Intelligence 44, 45, 51,
52-53, 136
Alliance SpecForces (Special
Forces) 60, 154, 155, 156,
157
Alliance Starfighter Command
46-47, 48
headquarters on Yavin 4 see Base
One
insignia 48
rebel council 48-51
Poggle the Lesser 115
Porkins, Jed 168
Posla, Tam 75
- Profundity 42, 169, 171, 1
rebel senators 50-51
Pathfinders 85, 154-56, 158
support staff 58-59
Rogue One: A Star Wars Story (cont.)
shoot 192-93
Romodi, General Hurst 121
Roofoo 75, 77
Rook, Bodhi 60, 84, 86, 88-89,
136, 144, 152, 155, 166
Rostock, Corporal Serchill 154, 157
Rothana Heavy Engineering 100
$
sandtroopers 134
Sawkee 75
Scanlan, Neal 190
Scarif 11, 27, 28, 88, 94, 140-41
Battle of 166-67
Scarif Citadel 90, 120, 121, 122,
123, 141, 142
movie location 194
vault 146-47, 150-151
Scarif mission 144-49, 152-57,
163, 165
scientists see Death Star scientists
scout troopers 135
SE-2 “Essie” worker droid 21
- security droids 56
Sefla, Lieutenant Taidu 145, 157
Senate 40, 48, 50 see also rebel
Sith 110, 111
Skywalker, Anakin 110, 115
snowtroopers 131
Sperado, Kullbee 85
Stalgasin hive 115, 128
starbird symbol 91
Star Destroyers 49, 116-17, 177,
184, 185
Dauntless 117
Devastator 110
Executrix 116
Starfighter Corps 60
Star Wars: Episode VIII 190
Stewer, Chief Garn 59
stormtroopers 79, 92, 99, 125,
130-33, 141, 152
equipment 134-35
superlaser 113, 114, 115, 119,
122, 128, 150
lens 151
Surrel, Major Ralo (Red Eleven)
169, 173
Syndulla, Cham 85
T
“tactical droids 76 -
erm, Nesta 77
Thobel, Corporal Ansin 122
hreece see R3-S1
IE fighter 176-77, 178, 184
IE/SK fighter 180-81
IE striker 178-79, 185
Timker, Corporal Walea 155
ion, Lantilla 26
obber, Lieutenant Heff (Blue Eight)
170
Tognaths 86-87
Tonc, Corporal Stordan “Stordie”
155
Tooby see R2-BHD
Torg, Sergeant Gale 59
Tree Dweller Tribes 169
Trel, Angber 73
Tudyk, Alan 193
Two Tubes Edrio and Benthic 86-87
TX-225 Occupier tank 98-99, 102
cross-section 100-01
U
Ubrento, Gavra 75
Uravan, Armes 129
U-wing gunships 46,
70,185 .
W
Weems, Private Tenzigo 58
Whills
Disciples of 73
Guardians of 73, 90-91, 94
Whyte, lan 191
Wilderness Preserve service 171
Wobani 34, 36
Wookiees 97
Wred, Lieutenant Attico Wred
(Green Four) 169, 172
X
X-wing fighters 39, 46, 86, 137,
170, 184
Incom T-65 Starfighter 64-65
ү
Yarro, Magva 85
Yar Togna 86
Yavin 4 37, 38-39, 42, 49, 144
Great Temple 155
Special Forces Division 48
Ydroma, Guch 76
Yellow Aces Squadron 168
. Y-wing fighters 46, 137, 185
Koensayr BTL-A4 174-75
Penguin
Random
House
Senior Editor Emma Grange
Senior Designer Owen Bennett
Creative Technical Support Tom Morse, Andy Bishop
Pre-production Producer Marc Staples
Senior Producer Mary Slater
Managing Editor Sadie Smith
Managing Art Editor Ron Stobbart
Art Director Lisa Lanzarini
Publisher Julie Ferris
Publishing Director Simon Beecroft
For Lucasfilm
Editor Samantha Holland
Senior Editor Frank Parisi
Image Unit Newell Todd, Gabrielle Levenson,
Erik Sanchez, Bryce Pinkos, and Tim Mapp
Associate Technical Director Cameron Beck
Story Group Leland Chee, Pablo Hidalgo, and Matt Martin
Creative Director of Publishing Michael Siglain
First American Edition, 2016
Published in the United States by DK Publishing
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ISBN: 978-1-4654-5263-4
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ACKNOWLEDGMENTS
Kemp Remillard: I'd like to thank Owen
Bennett, Cameron Beck, Pablo Hidalgo,
Samantha Holland, Chris Medley-Pole,
Frank Parisi, Emma Grange, Simon Beecroft,
Sadie Smith, Ron Stobbart, Claire Morrison,
and all the fine people at DK Publishing
and Lucasfilm that made this book possible.
Also a galaxy-sized thank you to my family
and friends for all the support.
Pablo Hidalgo: For keeping me in the
loop during all steps of Rogue One's
production, thanks to John Swartz.
My gratitude to Simon Emanuel and
Allison Shearmur for extending warm
invitations to the set to get a close look,
and to Vanessa Davies for showing me
around. For a seat at the table during
evelopment, thank you to Gareth
Edwards, Gary Whitta, Chris Weitz, and
ony Gilroy. | have to thank John Knoll for
starting this Death Star-sized ball rolling,
and thanks to Hal Hickel, Vick Schutz,
and the many talented artists at ILM for
heir work. Thanks to DK, the Lucasfilm
Story Group, and the image teams at
LFL for making this book possible,
with special thanks to Sammy Holland.
And, as always, thank you, Kristen.
DK Publishing: We would like to thank
Kathleen Kennedy, John Swartz, John Knoll,
Brian Miller, and Natalie Kocekian at Lucasfilm
for their assistance with the creation of this
book—with special thanks to Frank Parisi and
Samantha Holland. Additional thanks to Rob
Perry and Chris Gould for design work, David
Fentiman for editorial help, and Julia March
for proofreading and for the index.
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THE EMPIRE
STRIKES BACK.
SKETCHBOOK
bY
Joe JOUNSTON
ANY
Nivo Zovio-JaAMeEZzo
ART VIZECTOR ANU EPITOR, VIANA ATTIAS
ZESEAPCH, VALEKIE. HOFFMAN
DESIGN, ZON LARSON/MIKE PONALZSON
BALLANTINE. BOOKS- NEw Yor
Copyright ® Lucasfilm, Lid. (LFL) 1980:
TM: A trademark of Lucastiim, Lt.
All rights reserved under International and Pan-Amencan Copynght
Conventions, Published in the United States by Ballantine Books, a
division of Randam House, Inc., New ‘York, and simultaneously in Canada
by Random House of Canada, Limited, Toronto, Canada.
Library of Congress Catalog Card Number: 80-66172
ISBN 0-345-26836-%
Manutactured in tne United States of Amenca
First Edition: June 1980
9 B765 43 2 1
Joe Johnston, Art Director of Special Effects on THE
EMPIRE STRIKES BACK, and his assistant, Nilo Rodis-
Jamero, are the artists responsible for the sketches
in this book.
Johnston was originally hired by Lucasfilm in 1975
to be storyboard artist for STAR WARS. Once those
storyboards were developed, Johnston was asked
to sketch the various spacecraft appearing in the
climactic Death Star battle scene. Many of these
imaginative and detailed sketches, which were used
as blueprint guides by the model makers, may be
found in THE STAR WARS SKETCHBOOK (Ballantine
Books, 1977).
For THE EMPIRE STRIKES BACK, the sequel to STAR
WARS, Johnston's creative role was expanded to
include not only the storyboard designs, but also
scene layouts, shot designs and compositions,
miniature designs, and all special effect sequences
as they related to the film.
Again, his designs were used as guides to the model
makers after first being approved by George Lucas.
Guided by the principle that modifying the drawings
would be easier than altering a model, Johnston and
Lucas met frequently to work out the concepts for
THE EMPIRE STRIKES BACK SKETCHBOOK
INTRODUCTION
the new EMPIRE characters and vehicles before the
models were built. These new concepts included the
snow walker, Rebel Cruiser, snowspeeder, Yoda, and
Boba Fett.
Collaborating with Johnston on the realization of
some of these designs, Nilo Rodis-Jamero assisted
in developing many of the concepts for the spacecraft
and other vehicles. In addition, Rodis-Jamero drew
half of the storyboards, assisted in modifying vehicle
designs, helped build the prototype snow walker model,
and was responsible for the design, construction, and
coordination of the miniature sets for THE EMPIRE
STRIKES BACK. This meant that he was required to
design sets that completely matched the location
sets where the live-action shots were filmed.
Joe Johnston was raised in Texas and, when his
family moved to Los Angeles, attended California
State College in Long Beach where he majored in
Industrial Design. He is now a resident of San
Anselmo, California.
Nilo Rodis-Jamero studied Industrial Design at San
José State College. After several years working as
a designer of cars, boats, industrial vehicles, and
military tanks, Rodis-Jamero joined Lucasfilm in the
summer of 1978.
3
This page was Intentionally left blank.
THE EMPIRE STRIKES BACK SKETCHBOOK
UN TURRETS
N A
G
ON HOTH
The turret design evolved from an early sketch
of tanks in the snow. These tanks were outtitted
with large, elongated turrets equipped with guns.
But eventually George Lucas decided to use
stationary gun towers, and Ralph McQuarrie
developed the existing design.
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THE EMPIRE STRIKES BACK SKETCHBOOK
IMIPERIAL
PROBE DROID
(Probot)
The buglike probe droid is an electronic Imperial
scout, packed with supersensory surveillance
equipment. The Imperial forces have hundreds of
these probots which they dispatch from cruising
Star Destroyers. Each of these robot spies is
equipped with a laser gun for self-defense but,
being expendable, can self-destruct if hit.
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This page was Intentionally left blank.
THE EMPIRE STRIKES BACK SKETCHBOOK
REBEL
ARMORED
SNOWSPEEDER
The snowspeeder is a homemade military hot-
rod, heavily armored, fast, and highly maneuver-
able. The basic ‘flying wedge” shape was first
sketched by Ralon McQuarrie, and then Johnston
did a mock-up and some sketches to define
surface detail and to enlarge the craft to a two-
man vehicle.
In the snow-battle sequence with the snow
walkers, the speeders trip the slow-moving tanks
by firing tow cables—to which are attached
fusion discs—at the walkers, entwining the legs
of the huge machines and tripping them when
they attempt to move.
—1 A
3 Aes
EVE ve
(4 OF EARLY SNOWSPEE
AIVE VIEWS «
SNOWS4PEEVPEZ WITH INSTZUCTIONS FOR PY ZOTECHNICS
4NOWSPEEPER BUILT FROM MOVIFIEV Y-WING COCKPIT FOV
FEAR VIEV/ OF MOPIFIEPY Y-WING 4JOW4PEEVPES
PLUAHT CONTEC
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This page was Intentionally left blank.
THE EMPIRE STRIKES BACK SKETCHBOOK
SCOUT WALKER
The two-legged scout walker is a faster and
lignter version of the giant snow walker. The
scout walker holds one man and is used to recon-
noiter positions for the main Imperial attack
group. Lightly armed, the scout relies primarily
on its soeed and maneuverability for defense.
In the film, the model is animated in the same
fashion as the snow walker.
23
24
VERY EARLY
VREAW
OF SCOUT ete.
ONE-MAN SCOUT WALKER
25
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FINAL 4KETCH FOR CONSTRUCTION
OF TWO-LEGGEV 2COuUT WALICE
26
This page was Intentionally left blank.
The artists militarized a basic walking machine
concept by giving it an armored body and guns,
and designed a head that could turn as if seeking
prey, an effect that lent animal characteristics
to the walking tank. It was felt that the snow
walker would be a much more awesome weapon
if it were made to seem animallike, designed
by the Imperial forces to terrify the enemy.
The walker interior was designed around the idea
of two pilots and possibly one officer working
inside the cockpit. A tight-fitting room, the cock-
pit would also house various controls and other
hardware items needed to operate the compli-
cated tank. Two operators were required to handle
the two main lasers, two side guns, visions in
the front, and the four walking legs.
Except for the set pieces needed for extreme
closeups of the walker's underside and cockpit
interiors, no full-size construction was necessary.
THE EMPIRE STRIKES BACK SKETCHBOOK
SNOW WALKER
(All Terrain Armored
Transport; AT-AT)
An eighteen-inch model of the machine—meant
to appear fifty feet tall in the film—was built and
used in stop-motion animation.
The model was set up on a miniature snowscape
and shot a frame at a time as the legs were
moved by very small increments between frames.
The walker’s mechanical nature made it an ideal
subject for stop-motion work, as this sort of
animation gives an unavoidable strobing effect.
This effect lends a mechanical appearance to
animal puppets, but only served to enhance the
menacing movement the filmmakers wanted
to achieve.
In devising movements for the walker miniatures,
animators Jon Berg and Phil Tippett studied the
movements of a variety of animals. But the
walker's unique mechanism and design dictated
its own movements.
29
30
PZE-WALKER TANK IVEA FORK IMPERIAL GNOW TROOPS
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38
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39
40
FINAL VERSION OF WALKER HEAP
:
FINAL VERSION
OF WALKER BOM ANP LEG4.
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This page was Intentionally left blank.
THE EMPIRE STRIKES BACK SKETCHBOOK
SNOW TROOPER
COSTUMES
Early designs for the snowtrooper outfits were
based on the costumes of Japanese samurai
warriors. This concept was dropped, and the
artists used the basic stormtrooper costume to
develop the look for the snowtroopers. An air-
tight fabric oversuit covers the troopers’ armor
for protection against the cold. To facilitate
breathing in the bitter Hoth climate, a breather
hood envelops the face plate and feeds into the
Suit liner.
43
44
EARLY IMPERIAL
SNOWTRZOOPER
JAPANESE INFLUENCE
IMPERIAL SGNOWTEROCOPER UNIFORMS ANP WEAPONS
This page was Intentionally left blank.
THE EMPIRE STRIKES BACK SKETCHBOOK
TAUNTAUN
Originally the artists worked on designs that
would have had a man wear the Tauntaun cos-
tume with a very small adult or a child as rider.
But stop-motion animators Phil Tippett and Jon
Berg convinced them that a highly detailed
puppet could be used for most of the shots
incorporating a Tauntaun, with a live-action head
filling in for closeups. The final design for the
Tauntaun seen in the film is Phil Tippett’s.
47
VERY EARLY
SKETCH FOW IMPEZIAL
TWO-LEGGEV MOUNT,
PMiE-IZE PLANET
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THE EMPIRE STRIKES BACK SKETCHBOOK
YODA
In beginning the design process for Yoda, the
artists knew only that he was to appear very,
very old and have nonhuman characteristics.
While some of the early Yoda sketches depict
the little Jedi as more animal than human, in
later stages the character became smaller, more
wrinkled, and more gnomelike.
The artists’ primary task in creating the Yoda
design was to present the sculptors with a guide-
line from which to further develop the character.
Working from this basic guideline, the sculptors
were able to add personality and emotion to Yoda.
51
52
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54
This page was Intentionally left blank.
THE EMPIRE STRIKES BACK SKETCHBOOK
DARTH VADER'S
STAR DESTROYER,
EXECUTOR
As befits Vagers propensity for things malevo-
lent, his special-edition Star Destroyer is larger,
more evil-looking, and far more destructive than
the other Star Destroyers in the Imperial fleet.
The original concept was based on the idea of
a “souped-up” version of the basic Star Destroyer
ship as designed by the same manufacturer.
The design evolved into a wider, larger, and
sleeker version based on the original “arrowhead”
shape. With its upper surface resembling a
metropolitan skyline both in size and shape,
Vader's ship sets him apart from the rest of the
Imperial forces—for his is the latest and fastest
model available.
EARLY CONCEPT FOF PARTH VAVERS STAR PESTZOYEE,
TIE FIGHTERS IN BACKGROUNLP
VAZTH VAPEE'S STAR VESTEOYER, SIVE VIEW
59
This page was Intentionally left blank.
THE EMPIRE STRIKES BACK SKETCHBOOK
REBEL CRUISER
George Lucas suggested that the design for the
Rebel Cruiser be based on an elongated out-
board motor shape. With this in mind, and with
the goal of arriving at a unique but practical
design, Johnston and Rodis-Jamero both worked
on developing the final concept for the vast
Rebel ship.
61
REBEL CRUIGER IN EARLY PHASE,
WITH MILLENNIUM FALZON FOP SCALE
= Tuy AEA a
fr if ARNE HA Ai
Revel
CRUISETe -
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This page was Intentionally left blank.
THE EMPIRE STRIKES BACK SKETCHBOOK
REBEL TRANSPORT
Converted from enormous space liners, the Rebel
Transport ships have been hollowed out to make
room for cargo containers. These vast carriers
also contain passenger pods which serve to hold
the large numbers of Rebel troops the ships
must transport. Because the Rebel Transports
are completely unarmed, they must rely on their
X-wing fighter escort to protect them from
Imperial attack.
65
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This page was Intentionally left blank.
THE EMPIRE STRIKES BACK SKETCHBOOK
BOBA FEI I
While most of the film's costume design orig-
inated in England, Ralph McQuarrie and Johnston
designed the Boba Fett outfit at Industrial Light
and Magic in California. The costume was built
at EMI in London, and then shipped back to
Johnston to be painted. Originally the Boba Fett
costume was intended to be worn by a squad
of supercommandos, troops from the Mandalore
system armed with weapons built into their suits.
But the costume was adapted for the Boba Fett
character by aging, denting, and adding a colorful
paint job to one of these suits, while keeping the
wrist lasers, flying backpack, and rocket darts
originally intended for the supercommandos.
69
BOBA, FETT S HELMET ANY SUIT
CEAFHIS IPEAS For
70
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EARLY SKETCHES OF AEMCEEP SUIT FOR SUPERPZOMMANPC.
LATER BECAME BOBA FETT.
71
This page was Intentionally left blank.
THE EMPIRE STRIKES BACK SKETCHBOOK
BOBA FET T'S SHIP
SLAVE I
Because Boba Fett is an “outsider,” a bounty
hunter hired by Darth Vader, the design of his
ship had to be distinctive enough that it would
not be confused with any of the Rebel ships
or those of the Imperial fleet. The original concept
for the S/ave / was a half-spherelike body housing
the main engine parts in a fuselage attached to
the ship's front, The body later evolved into the
elliptical shape used In the film.
73
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BOBA, FETT'S SHIr
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74
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BOA, FETT 'S SHIP
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79
This page was Intentionally left blank.
THE EMPIRE STRIKES BACK SKETCHBOOK
CLOUD CITY
ARCHITECTURE
The 1930s period of design influenced the artists
in conceptualizing Cloud City. Their designs picked
up the streamline aspects, curved lines, and
modernistic elements characteristic of that era.
The artists incorporated the basic look of a
metropolis of the future with believable and
seemingly practical building designs.
The Cloud City skyline was achieved by filming
models that were based on the artists’ designs
against a matte painting backdrop.
31
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CLOUR COTY - ON PEDESTAL, WITH SCALE TSN
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THE EMPIRE STRIKES BACK SKETCHBOOK
TWIN-POD
CLOUD CAR
Just as automobiles are used on earth, so are
cloud cars used on the Cloud City of Bespin.
Although only one version of the cloud car is
shown here, the designs could be adapted to
suit the needs of a patrol craft, pleasure car,
personal transportation, or other type of vehicle.
The shape of these flying cars was strongly
influenced by the Streamline era of design which
is reflected in the general architecture and look
of Cloud City.
89
EARLY PEVELOPMENTAL SKETCH OF SINGLE-FPOV €LOUP fAe
90
EARLY VEVELOPMENTAL ©4ETCH
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94
CLOUD CA WITH LANDING GEAR EXTENPEY
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: Bel A MIND-BOGGLING LOOK AT THE IMAGINATIVE DESIGNS
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Here are the early stages of the
incredible vehicles, weapons, and spaceships in the film, including:
IMPERIAL PROBOT SNOWSPEEDER REBEL CRUISER
SNOW WALKER DARTH VADER’S SHIP
CLOUDCARS TAUNTAUN BOBAFETT’'S SHIP
The exciting STAR WARS™ saga continues in
THE EMPIRE STRIKES BACK™
Cover printed in USA TM. A trademark of Lucasfilm, Ltd
Star Wars The Empire Strikes Back Sketchbook
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WHERE WAS I?
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PEOPLE YOU'D DO
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FEEL THE SAME,
DO YOU?
OF COURSE
HE DOES. z.,
DON’T YOL/, YES. ES, OF
WOLE?
OME ON, — I’M NOT
I wer nee STSRING aroun,
lait THAT THING LIKE
THE OTHERS.
Im tagelsh 2
ANYWHERE JUST... IT HAV!
|S BETTER THAN TO GO...
HERE. BESIDES, IF
YOUR NEW FRIEND
HAS HIS WAY, THERE
WON'T BE MUCH
OF THIS PLACE
LEFT IN A FEW
MINUTES.
you
CAN’T
LEAVE Now!
IT’S NOT
SAFE.
YOU DON’T
HAVE TO GO
WITH HER.
ARRRGHHH
WE MUST... ogy
LINGH... WE MS lpey LEAVE? AND
MUST LEAVE... GO WHERE?
NOW. ) AND THE
y OTHERS-- dy
y
/ ,
MORE OF
THEM. YOU MEAN,
THERE’S MORE THAN
ONE OF THOSE
THINGS?
THE FORCE
IS CALLING OUT
TO ME. WE NEED
TO MOVE.
I DON’T
UNDERSTAND.
BUT I TRUST
you.
JUST...
WE’‘LL HAVE TO
GO SLOw.
I THINK
SLOW |S ABOUT
THE BEST ANY OF US
CAN MANAGE RIGHT
NOw...
MEANWHILE...
=—
GOT tH, VEORON.
EVERYONE’S
DEPENDING
ON YOU.
CORON. IT’S
JUST THE WRECK
SETTLING. NOTHING
TO WORRY
ABOUT.
, rs ‘
uP To YoU ™
NOW, PAKO.
JUST DON’T ~~
MASTER SULA AND
THE OTHERS OUT
SAFELY...
vy)
Ye
4
:™~N
ELSEWHERE...
NOT AGAIN.
I WILL NOT
ALLOW THIS TO
HAPPEN AGAIN.
NOT AFTER
YOU'RE 7
CLOSE, AREN’T
you?
WHAT HAPPENED?
I THOUGHT You
Wel WERE WITH PAKO AND
MQ SULA IN THE ENGINE
\ ROOM?
YES, YES.
I KNOW WE
DON’T HAVE MUCH
I KNOW!
CORON’S DONE
IT) WE'VE GOT
POWER!
YES. I THINK
WE NEED TO GO
THROUGH
WITH IT.
THAT’S THE LAST
OF THE SAFETY
PROTOCOLS
DOWN, TOO.
CAN’T SEE
ANY OTHER
OPTION. THE
OTHERS ARE
COUNTING
ON US.
OF COURSE.
I'LL BE RIGHT
BEHIND You,
BUDDY.
Now
GO! QLICKLY!
MAKE SURE THE
OTHERS KNOW
TO GET OUT.
DLL SET
THE ENGINES
TO OVERLOAD. WE
WON'T HAVE LONG.
YOU GO AHEAD AND
WARN THE OTHERS,
OKAY?
WHAT ARE
YOU DOING OUT
HERE?
WE
MUST GET
OUT OF THIS
WRECK. ALL
OF US.
THE ENGINES, I
KNOW. THE POWER
IS RESTOR--
NO.
THERE’S MORE
Sea OF THEM, PADAWAN.
WH | IN HERE, WITH US. AND
we THEY'RE COMING...
CORON. MASTER
YOU'RE SUPPOSED TARL?
TO BE OUT THERE,
I’M NOT
DEAD YET,
ROK.
GLAD
TO HEAR IT.
LET'S GO.
BUT THE
CREATURE’S IN
HERE. AND S0’S
EVERYONE ELSE.
I CAME TO \
HELP. ‘
DID
You GET THE
POWER UP AND
RUNNING?
GOOD. THEN
WE’D BETTER START }
THE EVACUATION. /
GETH’S FRIENDS...
THEY DIDN'T MAKE | IM
WHAT IT. I FOUND THEM SORRY. JPY 55
ABOUT MASTER BACK THERE. WE RETURN TO
BADANI AND THE THE FORCE. ALL
BREE-DAA-
DO-WAAA
MASTER!
BY THE LIGHT...
YOUR ARM! WHAT
HAPPENED?
peor wHO000 wogg), 930000 /MH100)
PAKO DID IT/
AGAIN. THAT’S
THE GENERAL WARNING
KLAXON. THE ENGINES
ARE CYCLING UP
TO OVERLOAD.
WE NEED TO
SHE COULD
CHEW.
P, S$ \
STILL BACK
THERE...
AMBAR, I'M
SO SORRY. HE...
HE WOUNDED IT...
I THINK. SAVED
MY LIFE...
NOT PAKO.
NOT LIKE
THIS.
T’LL SLOW THEM
DOWN WHILE You
GET THE OTHERS
TO SAFETY.
MASTER TARL
NEEDS TO TELL THE
COUNCIL ABOUT WHAT'S
HAPPENED HERE. SHE NEEDS
YOL!. YOU MUST BE
B STRONG.
WILL BE TIME TO j \
MOURN OUR LOSS " T’LL BE
LATER. NOW, WE ay RIGHT WITH
MUST MAKE THAT - you.
LOSS COUNT FOR
SOMETHING.
CORON--THERE
IS NO OTHER WAY.
our p 4 ONE OF US NEEDS
ENEMIES / TO HOLD THEM
CLOSE IN. i, BACK.
HOW MANY
MORE ARE
THERE?
~ oN
C DOES IT wv GET THE
MATTER? WHAT’S WOUNDED OFF
IMPORTANT |S WE THIS WRECK.
HOLD THEM HERE
WHILE THE SHIP
BLOWS.
AND LOOK
ROK--GET AFTER MY
THEM OLIT OF FAV AWA:
HERE!
THE WAY
IS CLEAR.
HURRY.
FORCE
BE WITH YOU,
PADAWAN. YOu
ANB YouR
MASTER.
I DON’T UNDERSTAND.
I’M SLOWING YOU DOWN.
WHY ARE YOU HELPING
ME? WHY IS THAT WOMAN
FACING THOSE THINGS
ALONE?
BECAUSE
IT’S THE RIGHT
THING TO DO.
BECAUSE
ALL LIFE IS
PRECIOUS.
BECAUSE
OF SULA, WE’RE
ALL GOING TO
BE OKAY. 4
AND SHE
SHE SAID WILL. FORCE
SHE'D BE RIGHT KNOWS IT. SHE’LL
WITH US. BE pala us
LL.
AND THAT’S /7?
THAT’S THE END OF
THE STORY?
THEY
TRAINED YOU.
BUT THATS
STORY DOES
Y .
END, DOESN'T gens
WELL, NO
STORY EVER TRULY
ENDS, DOES IT? ROK,
WHO'D LOST HIS OWN
PADAWAN, WENT ON TO
TAKE CORON AS HIS /
NEW APPRENTICE.
; AND CORON
EVENTUALLY BECAME
A JEDI MASTER HIMSELF
AND TOOK MY MASTER
AS E/E PADAWAN.
/ AND THEN...
BECAUSE YOU LEFT
THE ORDER, AND YOU’RE
NOT TRAINING A PADAWAN
OF YOUR OWN.
ALL I'M SAYING |S YOU
COULD DO WITH SOME
HELP. JUST LIKE IN THE R
STORY. THEY HELPED
EACH OTHER, DIDN’T
THEY? CORON AND THE
OTHERS. THAT’S HOW
THEY MADE IT THROUGH.
\ = ,
i.
AND WHAT ABOUT [y’
THE CREATURES?
WHAT BECAME
OF THEM?
WHO KNOWS?
THEY LIVED ON IN
| STORIES, TOO. NURSERY
\ RHYMES AND SCARY
BEDTIME TALES.
gee
BUT THE :
TRUTH IS, IT WAS
PROBABLY JUST THE |
PATH OF THE OPEN HAND
TRYING TO HARNESS
THE DARK SIDE. USING
IT AS A WEAPON TO
HURT THE JEDI.
? I DON’T
IMAGINE WE’LL
EVER KNOW FOR
SURE. NOT
t i
- IN a :
S
. A) UMM, AREN’T
my YOU GOING TO
¥
ANSWER THAT?
I KNEW
YOU WERE UP
TO SOMETHING.
WHAT’S GOING
ON?
WELL, IT
sounps as |%
IF WE HAVE A |
visitor... |
JUST
REMEMBER
THE STORY.
THINK HOW MUCH
BETTER IT WOULD
BE IF YOU HAD
SOME HELP...
na.
=
VM ALLAH Ss)
AND I'VE
TOLD YOU NOT
TO CALL ME
=
SORRY,
Dy MAS--COPS!
I HEARD
YOU NEEDED SOME
HELP HUNTING AN
ACKLAY! 50 HERE
I AM!
A LONG WAY TO MEET
YOU HERE, TY.
Star Wars The High Republic Adventures The Nameless Terror 004 (2023)
THE OFFICIAL COLLECTOR'S EDITION
= l AR.
WARS
GEORGE LUCAS, MARK HAMILL, CARRIE FISHER,
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=i AR.
WARS
THE SKYWALKER SAGA
=i AR.
WARS
THE SKYWALKER SAGA
The Star Wars Skywalker saga, the three-trilogy, nine-film cycle has proven to be a
timeless modern mythology, far exceeding being a mere staple of popular culture.
Its icons are recognized all around the world and its story has been repeated on
countless occasions, handed down from generation to generation.
The official magazine of the Star Wars franchise, Star Wars Insider (1994—present),
was born of earlier fan-led endeavors: the newsletter Bantha Tracks (1978-1987)
and the Lucasfilm Fanclub Magazine (1987-1994). What these three publications had
in common was a desire to bring the very best of the galaxy far, far away to fans
around the world, with exclusive interviews and rarely seen photographs, thrilling
readers in those pre-internet days.
This volume contains interview material with the talented people who brought
George Lucas’ epic saga to life, taken from those long out-of-print periodicals.
From the prequels to the original trilogy to the sequel trilogy, here are the members
of the cast and crew of all nine films who were there, sharing their experiences on
working on the greatest cinema saga of them all.
TITAN EDITORIAL
Editor Jonathan Wilkins
Managing Editor Martin Eden
Art Director Oz Browne
Senior Designer Andrew Leung
Proofreader Stephanie Hetherington
Assistant Editor Phoebe Hedges
Production Controller Caterina F‘ alqui
Senior Production Controller Jackie Flook
Sales and Circulation Manager Steve Tothill
Marketing and Sales Coordinator George Wickenden
Marketing and Advertisement Assistant Lauren Noding
Publicist Imogen Harris
Acquisitions Editor Duncan Baizley
Publishing Director Ricky Claydon
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For more info on advertising contact adinfo@titanemail.com
Contents © 2021 Lucasfilm Ltd. & TM. All Rights Reserved
First edition: May 2021
Star Wars: The Skywalker Saga The Official Movie
Special is published by Titan Magazines, a division of
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Printed in USA by Trans Con.
For sale in the US., Canada, U.K., and Eire
ISBN: 9781787734661
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No part of this publication may be reproduced, stored in a
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A CIP catalogue record for this title is available from the
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LUCASFILM EDITORIAL
Senior Editor Brett Rector
Art Director Troy Alders
Creative Director Michael Siglain
Story Group Leland Chee, Pablo Hidalgo
Creative Art Manager Phil Szostak
Asset Management Chris Argyropoulos, Nicole
LaCoursiere, Sarah Williams
Special Thanks: Lynne Hale, Christopher Troise,
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MAGATINES
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>a?
1 AR.
WARS
CONTENTS
THE PREQUEL TRILOGY
010 Episode |: The Phantom Menace028
Episode II: Attack of the Clones
046 Episode Ill: Revenge of the Sith
THE ORIGINAL TRILOGY
066 Episode IV: A New Hope
084 Episode V: The Empire Strikes Back
102 Episode VI: Return of the Jedi
THE SEQUEL TRILOGY
124 Episode VII: The Force Awakens
142 Episode VIII: The Last Jedi
160 Episode IX: The Rise of Skywalker
>
UO
OC
4
a
-
—d
2
J
Po)
od
as
=
ae
-—
STAR. WARS: — —
EPISODE I
THE PHANTOM MENACE.
1 / Obi-Wan Kenobi
(Ewan McGregor),
Jake Lloyd (Anakin
Skywalker), and
Qui-Gon Jinn (Liam
Neeson) face The
Phantom Menace
alongside saga
veteran R2-D2.
(Previous spread)
2 / The high octane
podrace sequence
picks up the pace.
3 / The Trade
Federation make
their prescence felt
on Naboo.
4 / Second unit director
Roger Christian consults
with George Lucas on
location in Tunisia.
n the late 1990s, George
Lucas embarked on an epic
journey to tell the story of
how Anakin Skywalker
turned to the dark side, how the
galaxy fell under the evil Emperor’s
cruel Imperial dictatorship, and
how the Jedi became, to quote
Obi-Wan Kenobi, “all but extinct.”
Utilizing technology seemingly
brought about by Lucas’ own will
to tell the story on his terms, the
groundbreaking new trilogy took
audiences back even earlier than
the “long time ago” of the
original trilogy.
George Lucas (Writer/Director):
I had always intended to do
Episodes I, II, and III. When
I finished the first three, I decided
I needed a hiatus. ’'d worked on
Star Wars for nine years and I was
interested in doing other things.
Plus, the technology hadn’t
evolved enough for me to really
do what I wanted to do. It’s
frustrating to work in a very
limited palette. You might say that
on the first three films I worked in
a black and white palette but, with
the second trilogy, I was able to
add a lot more color. New special
effects allow me to have Yoda
walk. It allows me new alien
characters, new droids, and a lot
more varied vehicles than just
spacecraft. From a director’s
point of view, it was hard on the
earlier films because everybody’s
cemented in place. It’s difficult to
direct a scene when your actors
can’t move around.
Rick McCallum (Producer): The
challenge is to make these new
Star Wars films on time and on
budget and with the highest
artistic commitment that we can
make, and have them compete
with all the other films Hollywood
is producing.
George Lucas: The designers
started working on the film the
same time I started working on
the script, which was two and a
half years before filming began.
For example, I needed designs for
the speeders on Naboo that were
reminiscent of the one that Luke
was driving but that would fit
better into a more Italian-looking
setting. I was using a myriad of
influences that would come from
numerous places including art
nouveau and Victorian versions
of Italian Renaissance.
Doug Chiang (Design Director):
I learned so much from George
about film design rather than just
12 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
STAR WARS: THE PHANTOM MENACE
uy
EPISODE |
design. There are different concerns
in film. George looks at the work,
elaborates, and dismisses things in
ten seconds. He doesn’t want
explanations when he reviews
concepts—it just goes up on the
board and it either reads or dies.
It has to be bold or it doesn’t work.
The audience is not going to hear
your explanation about why it’s
a good design or how it works.
George Lucas: I work in this great,
odd genre that doesn’t really exist.
It’s a mini-series done with feature
length films, and it’s not done as
one unit. It’s done over what
will eventually be forty years. It
will ultimately be twelve hours of
just one story. It’s broken into a
bunch of pieces. But it’s one book.
Nobody has ever really done that.
I’m doing very stylistic things, that
are very musical in terms of how I
develop themes and repeat themes.
I go over the same thing again and
again in certain areas to echo what
I have done before. It’s like a
symphony more than a movie.
Some people may not understand
what I’m doing. They think [The
Phantom Menace is] just Star Wars
with a shorter Luke Skywalker, but
it is all done on purpose to create
a certain feeling when you watch
them all in order. Certain lines
become more meaningful. It’s
going to change the first three
movies rather dramatically. That’s
my whole reason for doing it; I
like the idea that you can take
something and look at it one way
and then turn it around and, with
more information, can look at
things completely differently.
To tell the story, Lucas needed
technology to take a major leap
ahead. As with the original trilogy,
he was the man to give it the push
it needed.
George Lucas: We were
dependent on new technology
to emerge during the production
process. That scared a lot of
people. We depended on our
ability to come up with a lot of
new ideas for things that don’t
exist. Industrial Light & Magic
(ILM) spent nine months
reinventing techniques. We
had to write new software to
achieve some of the things I
wanted to do.
Rick McCallum: George thought
that if he is doing these movies,
why not do it right? He needed to
be able to set up the tone, style,
and look. I was thrilled when he
agreed to direct. It really felt like ©
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 13
STAR WARS: THE PHANTOM MENACE
he had never stopped directing.
He has been directing this movie
in his mind for nearly 20 years.
He’s just now showing the rest
of us.
Qui-Gon is Alan Ladd in Shane
(1953) crossed with Toshiro Mifune
in Seven Samurai (1954) crossed
with George Lucas. I always
wanted to be a cowboy, and Jedi
are like cowboys in space! George
employs you because you are a
good carpenter, actor, or designer.
He lets you just get on with it. Eight
times out of ten, George’s direction
will be “Speak a little bit faster on
that line” or “When you turn, could
you pick him up with your right
hand instead of your left.”
eorge Lucas: Liam Neeson is
like Alec Guinness in the first movie.
There isn’t anybody else who has
that sense of nobility and strength
and calm. Jake Lloyd is a natural.
He’s bouncy and cheerful. He has to
have the same kind of presence that
a young Luke Skywalker has in the
first film. Natalie Portman is perfect
as the queen. She’s very strong but at
the same time very young. Ewan
McGregor is the perfect mix of a
young Harrison Ford and a young
Alec Guinness. He’s extremely
relaxed and strong. All the things
that Alec Guinness is.
cas: There are a lot
more costumes, a lot more designs,
and a lot more hairdos! If you
don’t like my hairdos in Star Wars,
they will drive you nuts in this
film. I like them.
The Phantom Menace was a
huge project. The opportunity to
devise various planetary groups
from top-to-toe was a wonderful
challenge and such good fun.
When you’ve got non-human
bodies, it’s quite difficult to create
things for them to wear that will
flatter and enhance their body
shape without making the
audience aware of the mechanics
working underneath. George and
I had long meetings where we
looked at fabrics and mock-ups.
There were also department
meetings where he discussed
historical or ethnic references
he was interested in taking bits
from and giving them a twist.
He had clear ideas about how
he saw various planetary groups.
There were costumes that were
completely new and some that link
back to the original films such as
the Tatooine outfits and the Jedi
robes. The costumes for the
14 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
6 /
Naboo were very interesting to
do because we printed distinctive
designs onto fabrics and used
various dye techniques, which
allowed us to incorporate modern
fabrics with antique pieces.
Some of the sets
at Leavesden were enormous. The
main Theed Palace hangar was 275
feet long. One side of the set was
completely blue screen and we had
to light it evenly all the way down.
We came up with a system of new
lights that were designed and
built called JAK FLOS. There were
florescent units that were twice
the power of anything that was
available at the time. It gives us a
much brighter, even quality of light
than was ever possible. In the desert,
the temperature was quite tricky
le ee ee
for us, technically. The film started
to melt! So we had a careful
routine of keeping the unexposed
film in an airconditioned vehicle
and the camera covered with
cooling devices.
Jar Jar Binks
was a very hard character to
figure out. He has hard dialogue
to understand and make work;
almost like Yoda times ten! Ahmed
Best took to it. He really got it and
turned that dialogue into a real
language and turned Jar Jar into
a real character.
A
lot of my movement for Jar Jar
came from breakdancing. My first
audition for George Lucas was
a motion-capture session. Robin
Gurland, the casting director,
16 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
brought me into a room with
all these infrared cameras and a
number of people sitting behind
computers. They gave me a
skin-tight suit to put on, like a
body glove, and six-inch wooden
platform sneakers. I looked like
an aerobics instructor from hell!
I thought, What am I doing here?
Before George arrived, I was
asked to walk in the suit. I had
developed this walk that was
between a cool 50s bop and a
glide across the floor, a bit like a
moonwalk but moving forward.
As I was doing this walk, George
walks in. He was really cool about
it, ’m sure he’s seen weirder things
in his time.
I pretty much had
to imagine I was an amphibian
creature. Nobody knows what this
amphibian creature is going to
move like or sound like, what will
make him excited or sad. He’s not
human, so I came to him from a
STAR WARS: THE PHANTOM MENACE
left-field perspective. He can’t
be like a human being. There’s
a whole honesty in Jar Jar. He’s
not afraid to be who he is.
On set, I had a Jar Jar costume; I
didn’t have makeup on my face but
I had Jar Jar’s head on top of my
head. It was hot and I didn’t have a
double so I had to stay out all day.
Everyone else had doubles, but I
didn’t because nobody else could
fit the suit! They made the suit
especially for my body.
I knew that Boss Nass was
something quite unique and
legendary. I seized the part with
both hands. He is amazingly real.
The expressions on my face come
though the computer. If you go in
there and treat it like a robot, you
are killing the scene. You have to
interact with the actors. You have
to affect them. The technology is
an aid to becoming Boss Nass.
[Returning to play the character
as a younger man] was a rare
experience, if not a unique one.
I suppose I got to know Palpatine
retrospectively. Like everybody
else, I rushed to see the Star Wars
Special Edition in 1997 but that
was all I did really. I remembered
him and what he feels quite
by
EPISODE |
clearly. One just looks at
contemporary politicians and
then play the role as you would
any straightforward naturalistic
part. Of course, I—and a large
number of the audience!—have in
the back of my mind the fact that
this is the most evil person who’s
ever dominated a planet, let alone
the universe.
I asked George what Valorum
was like and he said, “He’s a
good man but he’s beleaguered
—a bit like Bill Clinton.”
I had good backup. I was
working with the wondrous
Natalie Portman, and I had a
little scene with Ewan McGregor
and Liam Neeson.
I had wonderful clothes! The
wardrobe department had found
wonderful fabric. I am aware of
a shift into character when I start
putting the costume on.
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 17
STAR WARS: THE PHANTOM MENACE
ee
EPISODE |
I was wearing a leather jerkin on
top of a woollen coat with leather
gloves and boots, and a big leather
cap. When you are standing on a
dune in 140-degree heat, all you
are thinking is Please don’t make
a mistake on this take!
Tunisia is so mind-
blowingly huge, it kind of puts
you in your place. When the storm
hit the set, Rick McCallum was
running around fixing the problem.
He was in his element and we just
carried on filming. George said,
“Oh, this a is a good omen! This
happened on the first one!” The
crew pulled it all back together.
The desert is the
last place on Earth that you would
think there would be a hurricane
and a thunderstorm. But there was
one and it destroyed half the set.
Yet George was unflustered by it.
He just said, “These things happen.”
He’s a cool guy.
Our crew did
a remarkable job and not even
Mother Nature slowed us down!
The storm that hit the set was so
fierce that planks of wood were
blown through the metal walls
of some of our equipment trucks.
The crew just pulled it all
together and fixed everything,
keeping us on schedule.
The queen is fourteen years old but
she has all this power. Yet she’s also
kind of naive. She’s very smart, and
compassionate, and cares about her
people. She’s not a selfish ruler. I’ve
never done a film where they
would put a teenage girl in charge.
In real life, they don’t usually put
girls in power.
Star Wars is very simple and
very honest. It’s kind of like George.
He’s certainly not simple—he’s one
of the most brilliant men I’ve ever
met—but he is very direct and
honest. He’s not pretentious in the
least. He never acts above anyone.
He’s never condescending. I think
he’s like the movie, because it has
depth to it. It has a meaning and
messages underneath. He really
based it on mythology and fables,
so it is a universal and timeless
story. It’s not trying to be fancy;
it’s allowing everyone to enjoy it
on a different level.
Working on blue
screen is weird, because there’s a lot
more to concentrate on than just
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 19
STAR WARS: THE PHANTOM MENACE
tb
EPISODE |
13 / Liam Neeson's
stunt double, Rob Inch,
looks on as Ray Park
flips into action as
Darth Maul.
14 / Ray Park, making
his movie debut as
Darth Maul, one of the
most enduruing icons of
the movie.
acting and saying lines. You need to
know where you are looking and
where your eyeline is. Sometimes
you'll be looking at a blue screen
but you are supposed to be looking
into someone’s eyes, but your eyes
focus differently when you are
looking at a wall or if you are
looking at a dot. But they can’t put
a dot on the blue screen, so you
have everyone focussing on the same
point and staying out of the way
of a certain character if a certain
character is there, but they are not
really there. It was the first time
I ever felt like acting was a job. The
finished result looks so awesome.
I can brag about how it looks
because it has nothing to do with
me! It was weird to watch myself
walk around a place I’ve never
been to.
Hugh Quarshie: Natalie Portman
is a great actress. She has a lot to
do and think about in Episode I.
I don’t think I was that focused
at her age. In Star Wars, you’ve
just got your imagination and the
assurance of the director. It’s a
style of performance that has to be
learned. I think it’s as valid a skill
as knowing how to read five lines
of iambic pentameter.
Another key aspect of the film was
the combat. Lucas was keen that
audiences see Jedi in their prime
take on their foes, including a
dangerous Sith Lord, the instantly
iconic Darth Maul.
Nick Gillard (Stunt Coordinator):
I figured that if a Jedi had chosen
a sword, they’d have to be really
good with it. So I took the essence
of all the great sword techniques
from kendo through to saber, épée,
and foil, and tried to flow them all
together. I couldn’t have wanted
more from Liam Neeson and Ewan
McGregor. Sometimes they learned
moves ten minutes before we shot
a scene. They were that good.
20 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
Ewan McGregor: My cloak was
so huge. I was always falling over
in it. When I was fighting in it, my
lightsaber was always going up my
sleeve or under my cloak. It’s a
good idea on paper but was pretty
hard to wear!
Ray Park (Darth Maul): I went to
help Nick Gillard rehearse a fight
to show George Lucas. He said it
might help me, because they were
looking for somebody who could
do action to play Darth Maul. We
rehearsed for a week and then on
the Friday we filmed it and showed
George Lucas. From there, I had a
call from Rick McCallum telling
me I had the job.
I could spin the double-
bladed lightsaber around and
give them moves they didn’t
expect. I could be more creative.
We worked from morning to late
evening, working on different
stunts and acrobatic moves, just
getting them 100-percent right.
>
STAR WARS: THE PHANTOM MENACE
YO EPISODE |
15 / The stoic Mace
Windu, as played by
Samuel L. Jackson.
ce
To be part of a legend, to be part
of a modern myth and to play the
young Alec Guinness was an honor.
» The last fight Ewan McGregor
and I did was really fiery.
We really went for it. He fed off
me and I fed off him. The energy
we had was really good.
Despite the fierce confidence of
the character, Ray Park, in his
first acting role, took a while
to feel at ease. Thankfully, the
makeup department helped him
to get into character.
Ray Park: At first I wasn’t sure
how the character was supposed
to be played, but George seemed
so cool about everything and he
made me feel more confident.
People on the set would get scared
when I had the lenses in my eyes
and the teeth and makeup. They
couldn’t look me in the eye when
I was speaking to them.
One very popular returning
character was Yoda, as played by
returning performer Frank Oz.
Frank Oz (Yoda): Yoda is very
hard work. It’s really five days of
rehearsal for two days of shooting,
because every single move, and
every blink has to be worked out.
However, it is so nice to see an old
friend like Yoda and to dig a little
deeper into the character, because
it’s more acting than performing.
The Muppets are characters I
perform with, but with Yoda I act
more in the sense that I trust the
39
Ewan McGregor
script and the character more, and
I’m not thinking about pleasing the
audience. I did two weeks on The
Empire Strikes Back, and Return of
the Jedi was two days.
One lucky fan managed to secure a
key role in the film, proving popular
enough to return for both of the
next two Episodes.
Samuel L. Jackson (Mace Windu):
People always ask you the
question, “Are there any directors
that you haven’t worked with that
you want to work with?” I was on
a chat show in the U.K. and said
“George Lucas.” When I was
shooting a movie in Vallejo, I got
a call inviting me to the Skywalker
Ranch to meet George as he had
heard I was interested in the
movies. Just an opportunity to go
to the Ranch was cool with me.
Although his time on the set was
brief, the veteran actor enjoyed
every moment.
Samuel L. Jackson: I was awed.
It’s pretty awesome to just show
up on the set. It’s something that
I'd always imagined, and all of a
sudden I was in it! I was only
there for four days and George
only gave me the six pages I was
in on the days we were filming.
The Star Wars set actually had
more of a low-budget feel to it.
There were none of the huge-star
22 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
trappings. There were no huge
trailers. There were no P.A.s
running around with their heads
cut off. There was a calmness on
set. It was totally laidback.
I actually met actors I wouldn’t
know if they walked into my
house today, because they were
covered in makeup. There was one
guy I affectionally referred to as
“calamari” and there was another
guy that looked like a giant Lhasa
Apso and there was a guy with a
duck on his head!
Working with Yoda is like
working with a great actor. He was
there, totally involved, with great
facial expressions, and great
line-reading. He was totally cool.
Yoda is there, not Frank Oz. You
hear action and Frank gets in there
and Yoda sits up and comes to life.
Then George says “cut” and Frank
lets go of Yoda and he slumps over.
The guys are still operating his ears
and eyes so he looks like he’s not
feeling well! It’s like, “Somebody
help Yoda!”
Jackson wasn’t the only actor who
took delight in appearing in the
movie. Ewan McGregor was
pleased to be chosen to play the
young Obi-Wan Kenobi, a role
first essayed by Alec Guinness.
Ewan McGregor: To be part of
a legend, to be part of a modern
myth and to play the young Alec
Guinness was an incredible honor.
>
15 /
4/411) (ry)
re
o's Shih bd
I was six when the first movie came
out, so as soon as I heard there was
a possibility of playing this part, it
became a mission because of what
these films meant to me as a kid.
They were like fairy-tale movies
and were completely engrossing.
I used to play Star Wars all the time
and now I’m being paid to do it.
I worked hard on getting the
voice right. I did a lot of work
with a dialogue coach to try and
get a younger-sounding version
of Sir Alec Guinness’ voice. It’s
quite a trick to imagine what his
younger voice sounded like because
in a lot of his early films, he’s using
an accent. I studied him in the first
Star Wars film. I’m always
watching the scene in his house
where he gives Luke the lightsaber.
He’s got such a specific voice that
we associate with an older man, a
kind of fatherly voice. There’s
something paternal about him
and calming. He knows what
he’s about.
In every area in the studio, there
seemed to be 300 people working
away. It was incredible to see the
props. I was screaming out loud
when I saw them, but the guys
working in the prop room looked at
me as if they understood, so it was
all right! It was quite a moment;
meeting R2-D2 for the first time.
It’s a bit like meeting the queen. He
was just wheeled out casually.
I love owning my lightsaber.
I can’t have it in my hand and
not give it a few twirls. Every day
had a Star Wars moment or two
where I thought, My God—I’m in
Star Wars!
When I was six, I was Darth Vader
for Halloween. Now I got to be a
Jedi again! Anakin is a lot like me.
I love doing mechanics, and he is
one mechanical kid! I waited for
two years to get the part. I
auditioned twice.
I never worked
with a child actor as good as Jake
Lloyd. He is phenomenal. I found
myself saying, “How many takes
are we going to do of this scene?”
and then I’d look at him and feel
ashamed because he didn’t complain
at all.
24 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
George Lucas told me Shmi had
come from another galaxy, a
Swedish one, so she was allowed
to have an accent.
George
explained that Threepio was built
by Anakin. I was shocked and
horrified! The last person whose
hand you would expect Threepio
to come from would be Darth
Vader’s! I think See-Threepio’s
awkwardness is down to him.
I don’t know where else it comes
from. Could you put the whole
of his predicament down to his
being built by a nine-year-old
who wants to go podracing?
The
Phantom Menace has 120 minutes
STAR WARS
: THE PHANTOM MENACE
of very dense and active music,
because it is all on an operatic scale.
George always says that Star Wars is
like a silent movie and it really is: the
music underscores the emotion, but
also the action, the starships, and the
lightsaber fights. When you confront
the need to create that volume of
music in the weeks you have to do it,
it’s a daunting and challenging task,
just getting the notes on paper. Then
the challenge extends to creating
material that is fresh and new, and
that also has a connection and
relationship to the old material in
texture and thematic styles. Anakin
has his theme, and if you listen
carefully, you’ll hear hints of what’s
to come in later incarnations.
I was watching the
duel between Darth Maul and
Qui-Gon and it occurred to me that
it might be wonderful to have voices
as part of the music. I wanted to
find a text that would offer vowel
sounds, which is really the so-called
noise that a chorus will make. We
can’t ever fully understand when a
chorus sings the words, and in a
dramatic sense, it’s not important
that we know the words, just that a
chorus has a certain kind of sound.
I found an ancient Celtic text
called “The Battle of the Trees.”
There is a stanza, which in English
is; “Under the tongue root a fight
most dread, while another rages
behind in the head.” The symbolism
on the poetry is that the trees
become animated and they become
the warriors in the battle. At the end
of the battle, the druid priest freezes
them back into tree form. It gave an
almost religious feeling to that duel
as though they were fighting in a
church. I had a translator put the
text into a couple of languages.
Celtic didn’t have the vowels we
needed. Greek and Latin were not
remote enough. So I had it put into
Sanskrit and we used the Sanskrit
text just as syllables to intone the
words “Dreaded fight that’s here
Wy
or lingering the head.” The piece
EPISODE |
really describes an unstoppable force
of destiny, like the Force that George
talks about.
George has
taken us to a place where you look
around and see green people, blue
people, hairy people, bald people,
short people, tall people, skinny
people, winged people, and nobody
ever talks about what people
look like. Everybody’s just dealing
with each other like there are
no differences.
I was lucky
enough to be involved in the first
day of shooting, and the last. The
first shot was quite an emotional
moment. There was a degree of
anticipation and tension on the
set. We were all nervous. I wasn’t
in the last shot, but it involved an
explosion. George with typical
showman’s instinct, waited, did the
shot from various angles and various
ways, and waited for the final
moment to press bang.
The first time I saw
the movie, I was sitting next to
Harrison Ford. It was crazy looking
at him, then looking at the movie,
then looking at him to see his
reaction. He was on the edge of
his seat!
We had up to
1,800 people at one time working
on the movie. We shot in four
different countries. We designed and
built everything. It was intense. The
budget was $120 million and we
came in at $115 million.
I got the film I
set out to make this time. I was
able to let my imagination run
wild. I could dream up whatever
I wanted to see, and, for the most
part, I was able to pull it off.
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 25
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STAR WARS: THE PHANTOM MENACE
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EPISODE |
STAR WARS: THE PHANTOM MENACE
ESSENTIAL
TRIVIA
The Phantom Menace is the first
and only time we see the Jedi use
their “Force run” ability in a Star
Wars movie.
We’re accustomed to seeing
lightsabers used in combat, but
for the first time, we see a
lightsaber used to cut through
a door!
Kitster, Ric Olié, Valorum, Fode
and Beed, Sebulba, Sabé, Captain
Tarpals, and Captain Panaka only
appear in this movie.
Look out for Pirates of the
Carribean star Keira Knightly
as Padmé’s loyal handmaiden,
Sabé. Director Sofia Coppola
plays another of Padmé’s
handmaidens, Saché.
Dominic West, star of The Wire
(2002-2008), plays a Naboo guard.
The Phantom Menace marks the
only time we see the “ripple effect”
viewscreen on the Trade Federation
ship in live-action. The sound effect
was borrowed from an old Flash
Gordon chapter serial.
The Phantom Menace is the only
time we see Obi-Wan Kenobi
without a beard in live-action.
Look out for the only shots in
the movie in which Jar Jar isn’t
computer generated. For example,
some occur in the scene where the
hapless Gungan gets numbed by
the podracer’s power coupling.
Ewan McGregor is the nephew of
Denis Lawson who played Wedge.
The queen’s ship is a J-type 327
Nubian. The number 327 was
also the number of the landing
platform that the Millennium
Falcon landed on in Cloud City
in The Empire Strikes Back.
Visual effects supervisor John
Knoll and his team had to write
a computer program that had
the sole purpose of governing
the movements of the little cord
hanging from Watto’s belt.
George Lucas considered duality
to be one of the main themes of the
film, as seen in Padmé’s double role
as the queen and handmaiden, and
Palpatine’s duality. Other examples
include the master/appentice
relationships between Obi-Wan
and Qui-Gon and between Darth
Sidious and Darth Maul. There is
also the symbiotic link between the
Gungans and the Naboo.
The sound of the crowds at the
podrace is a recording of a San
Francisco 49ers’ football game.
The name “Mace Windu” first
appeared in George Lucas’
original Star Wars story outlines,
which began: “This is the story of
Mace Windu, a revered Jedi-bendu
of Opuchi.”
The battle droid that Jar Jar Binks
pushes over has a stylized “1138”
on its back, a reference to George
Lucas’ THX 1138.
The triumphant parade music at
the close of the film is actually a
reworking of the Emperor’s theme
from Return of the Jedi.
Coruscant was first conceived
by Ralph McQuarrie during
development of the original
trilogy. It was named years
later by Timothy Zahn. Design
director Doug Chiang adapted
McQuarrie’s designs for the
new film, with a preview of the
city appearing in the Return of
the Jedi Special Edition.
George Lucas frequently used the
term “lazer sword” in his early
drafts of the story. Uniquely,
Anakin uses the term in this film.
Watto’s junkyard contains a
Discovery spacepod from Stanley
Kubrick’s 2001: A Space Odyssey.
Producer Rick McCallum and
sound designer Ben Burtt have
cameo roles as Naboo officials
during the scene in which
Palpatine arrives on Naboo.
The first scene shot for the film was
Darth Maul’s meeting with Darth
Sidious on Coruscant. It was filmed
on June 26, 1997.
Natalie Portman used her own
voice for Padmé and played Queen
Amidala with the kind of British
accent that people did back in the
days of old-school Hollywood.
Animation director Rob Coleman
was concerned that Watto’s trunk
would prevent convincing speech
animation, but design director
Doug Chiang didn’t want to alter
his look. A compromise was
reached by breaking one of his
tusks and having him talk out of
the corner of his mouth.
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 27
=—TAR WARS
EPISODE Il
ATTACK OF THE CLONES
STAR WARS: ATTACK OF THE CLONES
>
1 / George Lucas
directs Anthony
Daniels as C-3PO at
a very familar location.
(Previous spread)
2 / The droids reunited
in an image evocative
of A New Hope.
3 / The Neimoidian’s
expressive facial
features were operated
via remote control.
4 / Hayden Christensen
as Anakin Skywalker.
PISODE Il
or the second episode
of the Star Wars saga,
George Lucas concocted
a story of romance,
played out against the backdrop
of the outbreak of an intergalactic
war. Acclaimed playwright
Jonathan Hales, who had worked
on Lucasfilm’s The Young Indiana
Jones Chronicles (1992-1993),
served as co-writer on the script.
George Lucas (Writer/Director):
The Phantom Menace was just
for fun. A lot of things planted
there start to pay off in Attack
of the Clones. You begin to see
the root of the problem, and it
all starts, and in the next film,
everything happens! I’m basically
doing a three-act play over a
period of ten years. The middle act
is the hardest to deal with because
you’re adding more substance to
the story—the plot thickens. This
was a big concern for me in The
Empire Strikes Back because it
was the second movie. It had
a lot at stake but it didn’t have a
beginning, middle, or end! I know
now that whether it is an upper or
a downer, it doesn’t matter, as long
as the story is told well. There are
a lot of reverberations, scenes that
are reprised between Empire and
this film.
Jonathan Hales (Co-writer):
You know before you start how
the story is going to end, and
that’s part of the problem and
part of the satisfaction of solving
the problem. Episode II is not
the story of a villain, it’s about
someone who is incredibly gifted
but is trapped and almost
doomed by his good qualities.
The central idea, that Anakin is
the Chosen One but is slowly
turned to the dark side, has
parallels to the story of Lucifer
-the bright angel who falls.
George Lucas: The fact that this
movie is character-driven does not
necessarily mean that I delve that
much deeper into the characters,
because, stylistically, it’s not a
27
character study, it’s an action-
adventure film and I have to stay
true to that concept.
The movie made history as the
first major film to be shot entirely
on digital film.
Anthony Daniels (C-3PO):
At the time of the first Star Wars
film, I’d never been in a movie, so
I was amazed that the only person
who saw the movie was the guy
with the camera piece to his eye.
Now, with permission, one
stands behind George, looking
at a three-foot plasma screen
watching the take.
George Lucas: With these kinds
of movies, you have to shoot 100
percent of a live-action movie and
then you have to shoot 100
percent of an animated movie.
You have to film it twice.
30 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
3/
The film featured a myriad of
fascinating characters for the
writers to work with, including
some old favorites.
Jonathan Hales: Anakin and
Obi-Wan are fun. Though
they are master and apprentice,
they do have a spirited and
humorous relationship. Yoda is
tricky to write for. George is great
at writing Yoda. He’s also really
good at writing for Threepio
and the droids. He’s graduated
in those characters.
Joining the illustrious company of
Jake Lloyd and Sebastian Shaw,
Hayden Christensen made his Star
Wars debut as Anakin Skywalker.
Hayden Christensen (Anakin
Skywalker): It was tough [to keep
my casting secret]. I didn’t even
tell my friends—just my best
>
ay
STAR WARS: ATTACK OF THE CLONES
WY EPISODE Il
» friend and family knew. I just
walked around with a huge grin
on my face. I had a meeting with
Robin Gurland, the casting director,
and talked about my experiences
with acting and what I was doing.
She put that on videotape and
showed that to George. Then, two
months later I met with George at
Skywalker Ranch. We just sat down
and talked—not about Star Wars.
We didn’t even talk about the film
industry, it was just chitchat.
I went back two months later
to do a screen test with Natalie
Portman. We read a scene that
was not in the final film. I was
content with that experience.
They gave me an Episode I cap
and a mug, so I was happy!
Ultimately cast in the part,
Christensen played opposite
Natalie Portman, returning as
the former Queen of Naboo.
Hayden Christensen: I wanted
to be a part of every aspect that I
could and be involved in every way
possible. Everyone working on Star
Wars is the best at what they do. I
had never worked with blue screen
before but it wasn’t dissimilar from
doing theater, because it demands
more of your imagination. You
have to be able to visualize
everything around you.
The actor found the challenges
of the complex role fulfilling.
Hayden Christensen: The most
fulfilling part of playing Anakin
is being given material in which
you’re able to make such a drastic
and archetypal transition from
good to evil. What George
impressed on me most was to be
as subtle as possible. Subtlety
reads so much, especially when
you are trying to define such an
intricate balance. We were very
specific when we wanted to
show the dark side of Anakin.
I was excited by what
George Lucas expected from me
as an actor in terms of showing
emotional range.
32 | STAR WARS: THE SKYWALKER SAGA
I tried to steal some of Vader’s
physicality, like his posture as well
as the monotone demeanor
he has.
Even though Star Wars movies
have a gripping emotional quality
to them, people weren’t going in
every day and crying and leaving
emotionally exhausted. I feel like
I got the chance to do that.
One scene in particular proved
pivotal for the character.
Hayden Christensen: The garage
scene at the Lars homestead was
particularly important to me.
Up until that point, Anakin has
: THE OFFICIAL MOVIE COMPANION
5 / Anakin and Padme
embark on a highly
dangerous romance.
6 / Padmé marries
Anakin at the climax
of the film.
7 / Disquised, the Jedi
and the senator go
into hiding.
that childish, dismissive tone. He
has the arrogance that a child has.
So it was important to me when
he is at the emotional and mental
brink that he breaks down and
cries and displays his emotions in
the way a child would. I put a lot
of effort into that scene.
Natalie Portman (Padmé):
It starts out that Padmé’s
relationship with Anakin is one
of mentor. She’s known him only
as a little boy prior to this episode,
so when they re-encounter each
other, she still treats him like a
little kid. George worked with
me to make me seem older than
Anakin, to make it believable
that she would boss him around
and look at him as a little boy—
at least for the first half of the
film, until it becomes more of
a romance.
As romantic as the finished scene
was, Portman and Christensen
found the dinner scene, complete
with levitating fruit, amusing
to film.
Natalie Portman: We felt pretty
stupid biting into fruit that didn’t
exist. But, still, it was a fun scene
to shoot. I don’t think George was
entirely satisfied with the dialogue
he had written for the scene,
because he told us to improvise—
and of course it got inappropriate
very quickly!
For Portman, freeing Amidala of
her royal duties was an important
step for the character.
Natalie Portman: Amidala
resigned as queen because she
believes that is the way a rightful
government is conducted; that one
leader should not be in power for
too long. The fact that Amidala
doesn’t start a relationship with
Anakin when she has feelings for
him shows she doesn’t really think
=
dy
of her own desires before her role
EPISOD
as leader of the people. She’s an
idealistic person. She’s a good and
honest person and, because of that,
sometimes she’s a naive person.
She doesn’t imagine that other
people aren’t as good as she is.
She’s strong and intelligent, but her
weakness is she doesn’t think about
what she needs for herself. She is
always thinking about her career
and role as a leader as opposed to
her role as a woman and a human
being. She’s much happier in the
role of leader.
It comes into play how strong
and smart a character Carrie Fisher
portrayed because I think a lot of
that is passed from parent to child.
I think George wrote Amidala as
a strong, smart character but it
helped to know that I had this
[actress] before me who portrayed
her as a fiery woman. I met Carrie
at an event and she introduced me
as her mother!
Christopher Lee is someone
who George has always liked.
He always wanted to work with
him and thought that this was
the chance.
I didn’t want to
keep creating bigger monsters. I
decided to make Dooku an elegant
old gentleman. After Darth Sidious
loses his first apprentice, he has to
come up with a new apprentice
and decides he needs somebody
who is already trained. The point
is that he has turned one Jedi, so
he could turn another Jedi.
George Lucas told me the film
would be a lot of fun and that’s
a word that should be in capital
34 | STAR WARS: THE SKYWALKER SAGA:
STAR WARS: ATTACK OF THE CLONES
letters! In order to have fun on a
film, you should be able to relax,
and that comes from the top.
Palpatine is a man of mystery.
That is how he exercises and
maintains and increases his
power—by choosing what he is
public about. He’s the greatest
political manipulator of all time.
Probably the most interesting
aspect of the part for me is that
he appears to be a hard-working
politician but underneath that he
is an evil soul. The undercurrents
are always there in his mind and
his gut. Everything he does is an
act of pure hypocrisy, and that’s
interesting to play. Palpatine is a
supreme actor. He’s very charming,
extra professional; and for those
THE OFFICIAL MOVIE COMPANION
STAR WARS: ATTACK OF THE CLONES
looking for clues, that’s almost
where you can see them.
There is a scene in Attack
of the Clones where tears almost
appear in his eyes. These are
crocodile tears; he can just turn
them on. The pure exercise of
power is what he is all about.
That’s the only thing he’s
interested in. He is more evil
than the devil; at least Satan fell.
On my first
morning on the set, I filmed the
scene where Count Dooku is
escaping from the battle on his
bike. Francis Ford Coppola was
on the set, sitting next to George,
watching me while I was shooting
the scene against blue screen
with the wind machine blowing
my cloak around behind me. We
shot the scene for quite a long
time, three or four minutes.
Francis came up to me and said,
“Christopher, that was all there:
the whole character, the whole
story. I could read the entire
situation on your face.” At this
stage, I didn’t know if he was
joking and said, “Thank you very
much, but I don’t think I changed
my expression once!” I thought it
was very funny.
EPISODE |!
Peter Cushing
meant a great deal in my life. We
were very close friends. He was
an important reason I was happy
to take the role in Attack of the
Clones because I was following
him. I wrote Peter a letter when
the first film was released saying,
“What on Earth is a Grand
Moff?” He wrote back to say he
had no idea!
I didn’t ask George Lucas
the dreaded question, “What’s my
motivation?” but I was intrigued
by Dooku and asked George
to tell me about the Sith. Filming
was held up by fifteen minutes
while he told me their history.
George Lucas had a specific
idea as to how he wanted
the Count Dooku bust done.
He wanted it in the style of
Auguste Rodin. The sculptors
couldn’t quite grasp what
George wanted. Eventually,
George actually got his hands
into the clay and started
making it himself!
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 35
dy
STAR WARS: ATTACK OF THE CLONES
>
PISODE Il
I got to go on a detective
spree and it was really good! I cut
a bounty hunter’s arm off, which is
cool because Obi-Wan cuts an arm
off in A New Hope! He’s obviously
a bit of an arm cutter isn’t he?
There are moments in Jango Fett’s
apartment when it’s like the scene
on the Death Star when he is going
around with his hood.
Obi-Wan and
Anakin are like two old friends
who have been together a long time
and spent too much time together.
They argue, but as friends do.
Obi-Wan is worried that Anakin is
too headstrong and overconfident,
and Anakin thinks the reverse of
Obi-Wan—that he is staid, boring,
and does everything by the book.
They’ve been together every day
36 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
since Qui-Gon died, I think. You
can start to put the pieces together
of how Anakin gets to be Darth
Vader. You can see it in Hayden’s
performance; you can imagine
Anakin going to the dark side
because of his frustrations, his
ego, and his pain.
Anakin feels
that he’s being oppressed and not
being given his freedom to go and
explore and be the Jedi he wants
to be. Obi-Wan wants to go by the
book and he doesn’t want Anakin
to rush through his training. It’s
STAR WARS: ATTACK OF THE CLONES
almost like a Butch Cassidy and
the Sundance Kid (1969 ) type of
relationship. It’s a little eerie when
you remember what happens later,
but you just forget about that
and let the struggles and obstacles
he has to overcome manifest
themselves and let that guide you.
Mace Windu has known Obi-Wan
Kenobi for a very long time. Mace
was a contemporary of Qui-Gon
Jinn. He understood his faults
and admired his qualities and
can see that Obi-Wan has taken
on some of Qui-Gon’s strong-
headedness by wanting to train
Anakin Skywalker.
Working with
blue screen can be frustrating a
lot of the time because there is
nothing there, which for an actor
is not great. There’s no interaction.
It becomes technical. There’s
nothing to play off. There is
something rewarding about
cracking a scene with other
actors. With blue screen, you
perform a scene and it feels like
nothing has happened!
There was a speeder chase,
which we filmed on a speeder that
was rocking about and it actually
made me feel sick! It was like going
on a fairground ride over and
over again. The actual sequence
was something to behold but
it’s like watching somebody else
because the bit you filmed was
surrounded by blue. You see the
world around you in the final edit.
The frustrations of not knowing
what’s around you don’t show in
the film. All the characters in Star
Wars are space traveling and the
fact that there are thousands of
speeders going past us outside the
windows is an everyday occurrence.
It creates more of a sense of belief
that they are in this world.
Good grief,
[the interrogation scene] was
difficult to film. Poor Ewan was
spinning around, strung up by his
jockstrap and turning the air blue.
I don’t think he was comfortable.
EPISODE ll
hy
© STAR WARS: ATTACK OF THE CLONES
EPISODE II
I thought George
should [make Yoda digital]. As long
as the character is true and pure.
That’s the most important thing.
As long as it doesn’t look like an
effect, it’s a case of whatever
works for the audience.
We were trying not
to make Yoda look realistic. We
were trying to make him look like
a puppet. We didn’t want him to be
a different character. They built a
puppet for The Phantom Menace
with a different kind of material and
it gave him a slightly different
nature. He was younger so we
rationalized that we could get away
with that. For Attack of the Clones,
we were in the middle ground
between the Yoda of The Phantom
Menace and Yoda as we know him
in The Empire Strikes Back.
Everyone is in
a secondary position to Yoda. We
aren’t as intuitive or as strong,
mentally or spiritually. Yoda is
incorruptible, and unfathomable
in a lot of ways.
The fight between
Dooku and Yoda had a number of
variations. We started it in Australia
and finished in London. It was quite
a long process. There was some
concern about Yoda jumping on my
back as it was written in the script.
I remember saying, “We’re in danger
of an unintentional laugh here.”
I’ve watched
swashbuckling films all my life.
I was a huge Errol Flynn fan when
I was a kid and this is the next step
in the fencing age. It would have
been a shame to participate in a
film like this and never get to use
38 | STAR WARS: THE SKYWALKER SAGA:
my lightsaber! Nick Gillard put
together a very exciting and
incredible fight for me; and since I
was supposedly the second-baddest
person in the universe, I dispensed
people pretty quickly, using as little
energy as possible.
Mace is a voice of reason. He
thinks before he speaks. He’s pretty
calculating, mostly even-tempered,
and he’s not to be trifled with. He
knows that the war is coming and
he has a pretty good idea who is
behind it.
THE OFFICIAL MOVIE COMPANION
Boba Fett is a
background character, but I
needed a device, a bounty hunter
to do things. That particular bounty
hunter had become a rather popular
character and even though people
were writing all kinds of things
about where he came from, in my
mind he was always connected to
the stormtroopers. I realized that
STAR WARS: ATTACK OF THE CLONES
EPISODE II
te STAR WARS: ATTACK OF THE CLONES
EPISODE II
» I could use Jango Fett as the bounty
hunter and he would be Boba’s
father and then it all fell into place.
17 /
But even if he wasn’t a popular
character, it would probably have
fallen into place. There are lots of
little stories in this film, sidebars of
how things came to be. Some of it
was part of the original backstory,
mainly the main characters, but all
the secondary characters were
added later.
Temuera Morrison (Jango Fett):
When Robin Gurland called to
tell me I had the part, she said,
“You’re playing Jango Fett, Boba
Fett’s father,” and I just said
“Great, that’s good!” and hung
up. Then I said, “Who the hell
is that?” I’m the original bounty
hunter. Whatever Boba Fett is,
he takes from me.
Like many actors, Morrison found
that putting on his costume was
key to finding his character.
Temuera Morrison: As soon
as I had the costume on, I started
jumping around the costume
department. I cleared an area and
was running around, doing some
of the fight moves. I couldn’t help
it—I got quite excited. You get
most of your stuff from the outfit
because it gives you that texture.
You get all these organic feelings
when you’re in costume. You have
to walk in it, which gives you a
little bit of character as well. I
knew I only had the opportunity
here and there—when the helmet
comes off—to shine. I tried to
make the most of those moments
to try and get a nice flow. When
the helmet was on my head, I
had trouble breathing and seeing,
so there were a lot of curse words
coming from beneath my helmet!
17 / Temuera Morrison
The team tried to make me as
and Daniel Logan as
Jango and Boba Fett comfortable as they could but
in the Slave | cockpit. when the rain was coming down,
ae
nn eee ate it’s not that easy! I had a lot of
as Jango prepares to kill fight sequences in the rain and
some Jedi. I was initially quite willing to do
1s) Verses sedllaaea it. But after a day or two, I let the
as the Fetts. stunt guy have his turn. >
18 /
40 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
I was very
nervous when I started on the
movie. I had to resort to my Maori
Warrior side in order to increase
my confidence in playing such
a strong character with so much
backstory. I played some of those
initial scenes as if I was in a poker
game and IJ had an ace up my sleeve.
I tried not to let Ewan McGregor’s
splendid performance intimidate me
whatsoever. I was so nervous at
times, but George Lucas would say,
“Just pretend it’s another day in the
Olive Grove.”
I took Daniel
under my arm and treated him like
my own son.
Attack
of the Clones felt like a second
home and family to me. One of
my fondest memories is racing
with Ewan McGregor on the golf
carts around the lot. We got into
some trouble, but it was fun!
When Daniel
opened the door and saw me as
Obi-Wan, George wanted him to
look suspicious of me. I just told
him to pretend that I had done a
really bad fart. Surprise and bad
smells register a similar expression
in the face. He was brilliant!
In Attack of
the Clones, I wanted to be more
connected to the character and
do the puppetry myself. I really
toned up my muscles to carry
this heavy thing around on my
shoulders, head, and knees.
We shot the whole thing as the
puppet, including the scene where
Padmé walked in and Threepio
was feeling a bit sad and
42 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
explained that it was difficult
being this way. She says, “Ahh,
that’s not a problem” and finds
some bits and dresses him up.
Unfortunately, we had to lose that
because there wasn’t time in the
storyline. George thought it was
too soft and romantic.
We had a special rig with me
in it where she approached with
a chest piece, and then we came
back as she was putting the face
on. I was wearing bits stuck on
with fridge magnets so she could
stick the face on. Threepio was
just ecstatic. For the first time,
he was complete. And all that got
cut out. I had to go back and do
everything as the rust bucket,
which is actually the gold suit
painted rusty on green screen, so
I had to remember everything
I’d done. I was very sorry that
sequence got left out because you
saw the backstory of Threepio,
and it explained why he might be
a bit nervous.
R2-D2 standing
still and twirling his head and
whistling is perfect. But when we
started to move him around, that’s
when the fun starts! He falls over a
lot or gets stuck on gratings.
We got some pages from the
original Star Wars of the scene
where Owen and Luke are talking.
I read Owen’s lines and Robin
Gurland, the casting director, read as
Luke. Then I asked her if we could
switch characters. It seemed a
more appropriate way to get into
a young man’s headspace, so I felt
more like a young man talking to
an authority figure.
Robin Gurland had me read the
original Beru’s lines during my
audition. Leading up to that, I spent a
lot of time watching Shelagh Fraser’s
performance and getting a sense for
how she held herself, and how she
spoke. I wanted to show the younger,
more innocent side of Beru.
STAR WARS: ATTACK OF THE CLONES
hy
EPISODE |!
Most people talk
about Uncle Owen as this awful
character because he’s trying to stop
Luke from fulfilling his dreams.
But I always saw him as a father
figure acting in Luke’s best interests.
I wanted to play him as a nice and
somewhat eager country boy. He
was probably cautious about
the outside world and eager to
understand and be told stories
about places. There’s a certain
naivety about him. I’m sure he was
a bit of a Luke himself, working
away and wondering whether or
not to go and explore.
The bleak turn
the story takes creates a tougher
quandary because, unlike The
Empire Strikes Back, which was
leading into the triumphant Return
of the Jedi, Attack of the Clones is
followed by the darkest film of the
trilogy. Episode II ends on a mixture
of triumph and tragedy.
Attack of the
Clones is a high-tech film and
George has always been known as
an innovator. He’s doing something
new and different in a new format.
We were stepping into the next
generation of moviemaking. You
think of George having all of this
technical acumen, but I remember
going to his house to watch the
trailer for the first time. We were in
a screening room, and he couldn’t
get the screening room to work. His
son, Jett, had to come and fix it and
all of a sudden it was working!
STAR WARS: ATTACK OF THE CLONES
oe
EPISODE |!
STAR WARS: ATTACK OF THE CLONES
ESSENTIAL
TRIVIA
As Jango Fett enters Slave I on
Kamino following his fight against
Obi-Wan Kenobi, he knocks his
head on the door frame. This
is a reference to the infamous
stormtrooper who does the
same thing in A New Hope.
Just before Anakin leaves the
Lars homestead to find his mother,
he casts a shadow eerily similar
to that of Darth Vader. This was
not a deliberate visual effect, but
just a coincidence.
Running at 140 minutes, this is the
longest of the prequels and, until
The Last Jedi, was the longest of
the Star Wars films.
Anthony Daniels (C-3PO) and
Ahmed Best (Jar Jar Binks) both
cameo as patrons of the bar in
which the Jedi pursue Zam Wesell.
The Twi’lek Jedi Aayla Secura first
appeared in a comic book series
called Star Wars: Republic. George
Lucas liked the look of the character
so he included her in the film.
No physical clone armor was made
for the film. All the clones were
rendered using CGI.
According to the visual effects
supervisor, John Knoll, a shaak,
one of the big cow-like creatures
from the fields of Naboo, appears
as an asteroid in the chase scene
between Jango and Obi-Wan.
A deleted scene revealed that
the bust Obi-Wan was looking
at in the Jedi Archive was of
Count Dooku.
The yellow speeder that Anakin
and Obi-Wan use to chase Zam
Wesell was inspired by the yellow
‘32 Ford coupe from George
Lucas’ American Graffiti (1973).
The large aiwha whale seen flying
out of the waves on Kamino was
originally illustrated by Ralph
McQuarrie for the Cloud City
scenes in The Empire Strikes Back.
The original script for the movie
bore the tongue-in-cheek title,
“Jar Jar’s Big Adventure.”
According to his backstory, Dooku
is a Count of Serenno.
R2-D2’s booster rockets were
originally intended to have
debuted in The Phantom Menace.
They would have featured in a
scene in which the droid fell off
a landing platform on Coruscant
only to fly back to safety.
When Anakin slaughters the
Tusken Raiders, the voice of
Qui-Gon (Liam Neeson) can be
heard shouting “No, Anakin!”
The Jedi who attempts to attack
Count Dooku before Jango Fett
shoots him down is Coleman
Trebor. This is a reference to Rob
Coleman, the effects supervisor
on Attack of the Clones.
Just before he is killed by Mace
Windu, Jango Fett can be seen
trying to start his jetpack, which
malfunctions. George Lucas added
sparks—that were not originally
present in the cinematic release—
to the DVD version of the film.
Dexter Jettster’s name is a
reference to George Lucas’
nickname for his son, Jett.
The story behind the mysterious
Jedi Sifo-Dyas was later featured
in a story arc in the sixth season
of Star Wars: The Clone Wars.
Producer Rick McCallum cites
Attack of the Clones as the
prequel that was the hardest
to make because everything
was done digitally, from
shooting to distribution.
A humorous documentary entitled
R2-D2: Beneath the Dome was
included with some home-release
editions of the film.
According to visual effects
supervisor John Knoll, Boba Fett
remembers Obi-Wan’s strategy of
attaching his ship to an asteroid in
order to escape sensors when Han
Solo lands the Millennium Falcon
on the side of the Star Destroyer.
Attack of the Clones features the
first chronological use of John
Williams’ The Imperial March.
Scenes cut from the final version
of the film include Anakin and
Padmé spending time with her
family on Naboo, Anakin and
Padmé interrogated and put
on trial by Poggle the Lesser
on Geonosis, and the Jedi
attacking a droid control ship.
A 3D presentation of Attack of
the Clones was shown exclusively
at the Celebration Europe II fan
convention in July 2013.
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 45
STAR. WARS:
EPISODE Illy”
bs
STAR WARS: REVENGE OF THE SITH
>
PISODE III
Star Wars was intended to be one
movie. You never saw what came
before and you never saw what
came after. It was designed to be
the tragedy of Darth Vader, which
starts with Darth Vader coming
through the door and throwing
everybody around. Halfway
through the story, you realize he
is actually a man and that the hero
is his son. In the end, the villain
turns into the hero because he is
inspired by his son. I broke it up
because I didn’t have the money to
do that and it would have been a
five-hour movie. The icon of Darth
Vader took over and his tragedy
got diminished. It was harder to
see that it was actually a story
about a guy who is redeemed.
The backstory was written
as a backstory, it wasn’t intended
to be a movie. Technically, we
couldn’t do it, because we were
going to the center of the universe.
A New Hope was designed, for
technical reasons, to be on the
edge of the universe, so I didn’t
have to deal with lots of costumes
and special effects. After about ten
years, I began to think it would be
interesting to tell the full story of
what happened and strengthen
that part of it. At the same time,
the technology became available
for me to actually tell that story
and visit the center of the universe
that I’d had to avoid. I had a long,
soul-searching time: Should I take
one last shot at Star Wars and
maybe tell the backstory so that
the tragedy becomes more
apparent? I thought I would
regret it if I didn’t do it.
In Episode I, we had
a lot of work to do to establish
the plot and set up the saga as
a whole. In turn, Episode II was
very melodramatic. Episode III
is nonstop action!
There are no plot
twists in this one. You know he
turns into Darth Vader!
I began working on the project
in August of 2002. At that time,
I went to the Skywalker Ranch
to have an initial meeting with
George to talk about what he
was envisioning for the various
environments and to see what
the concept artists had started
developing for those environments.
48 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
STAR WARS: REVENGE OF THE SITH te
EPISODE Ill
I then returned to London to look
at fabrics and to start thinking
about colors and so forth.
For each planet and galaxy
that is seen, we break down each
story into days. For instance, on
Coruscant, we would work out
when it was morning, afternoon,
evening or even the next day, and
decide when to make a costume
change. Usually, if it’s the next day,
[the actor] will get a change of
clothes, unless there is a reason
why they would be wearing the
same costume. George has a very
clear idea of what he wants—even
if the script wasn’t on paper, the
storyline is in his head. George
fancies costume changes.
If you’ve met [producer] Rick
McCallum, you know he’s not
about to pay for a new costume
every time we do a new movie!
I actually wore the same costume
and it’s beginning to smell a bit!
I work out a bit to stay a little
healthy, like Hayden Christensen.
The weirdest thing for me was
talking to myself through most
of these movies because R2-D2 is
adorable, but he doesn’t speak.
It’s hard to do a performance with
characters who don’t respond.
I tried to get George to go “Beep!”
at the end of each line I’d said.
We were out in the desert and the
camera was in the distance and
I was yelling at him and he said
“Oh, sure.” So we did the scene
again, and I said [mimics C-3PO
voice] “Where are you going?” and
seconds later I heard, “Oh! Beep!”
Hayden and
I actually created a relationship
that mimicked our relationship
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 49
© STAR WARS: REVENGE OF THE SITH
EPISODE Ill
offscreen. We got on terribly well.
Obi-Wan and Anakin have a
bond that needs to be there to
make the original trilogy work.
In Episode I, Obi-Wan is
wary of Anakin as a child. He
only really trains him because
he made a promise to his dying
master, Qui-Gon. In Episode II,
Obi-Wan is very wary for Anakin
because I think he really loves
him. When Anakin gives in to
his anger or shows that his
arrogance is getting in the way
of him becoming a Jedi, Obi-Wan
is disappointed for Anakin.
There’s a scene where
I’ve given a lecture about what’s
happening in a certain place
during the Clone Wars, and
Anakin comes in late. That
scene sums up their relationship
—Obi-Wan is disappointed
for Anakin, not with him.
Anakin and
Obi-Wan regard each other as
comrades. Their relationship
has moved past the point of
being teacher and student as
Anakin has learned his craft.
They share banter between one
another, which makes watching
their relationship fall apart all the
more devastating.
It took me by surprise when
I read it in the script for the first
time. But it was a necessary evil.
All the Jedi had to go, what can
I say? Even the children. It’s a
dark film, and Anakin does very
dark things. Anakin is definitely
the bad guy in this one. This was
the time in Anakin’s life that I had
been looking forward to—making
that dark transition to Darth
Vader. There’s just more fun to
be had and more emotions to
explore. I really enjoyed making
this one.
Playing
Anakin was a difficult challenge
because I didn’t have someone
to emulate, like Ewan McGregor
who had Alec Guinness. Yet I
still had a character who was
predefined by the other actors
who played him. Ultimately,
I had to be the linear connection
between the Anakin that Jake
50 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
Lloyd played and Darth Vader.
I also had to capture the Anakin
played by Sebastian Shaw at the
end of Return of the Jedi.
It’s a daunting task taking
on a role that has such attention.
As much as possible, I tried to
disregard all of it. There were a
few very pivotal scenes that were
difficult. Obviously, the fight
between myself, Ian McDiarmid,
and Samuel L. Jackson was a big
one. Thankfully, George had
conceived such a well-drawn
character that all I had to do
was follow the script.
It was really exciting to do real,
substantive scenes with Ewan
McGregor. Our scenes together
were problematic because the
relationship between Padmé and
Obi-Wan really developed
between Attack of the Clones and
Revenge of the Sith. In that time,
they have become friends to the
| I STAR WARS: REVENGE OF THE SITH
EPISODE III
8/
» point where he feels comfortable
telling her things that are very
personal, dramatic, and life
changing. So it was really
interesting to go through the
process of figuring out what we
have been through to get to this
point: Have we ever hung out
alone? Have we only been friends
through Anakin? Do we have
a separate relationship apart
from that?
Trisha Biggar: In Revenge of the
Sith, Padmé’s situation is more
serious, and the colors [we used]
are much darker and more
muted—less playful. Now, there
is a war going on and Anakin
is away, nobody knows she’s
married, much less pregnant.
Natalie Portman: Trisha Biggar
is an outstanding costume
designer. The fabrics she used
were incredible and the detail
was amazing. She and [director
of photography] David Tattersall
had meetings about what the
costumes would look like
when they were filmed. The
costumes caught the light in the
most interesting ways that it
seemed as if they were always
changing. There’s a peacock
and brown dress that looked
like a completely different
color depending on the angle
it was filmed.
David Tattersall (Director of
Photography): Trisha would
offer us fabrics for us to look at.
We would hold them in front of
different types of lights, hard and
soft, and different colors to see
how they worked best.
Natalie Portman: Padmé
wouldn’t have lost Anakin if
she weren’t so committed to
the Republic. If she had a
different concept of government
or morality, she might have been
able to stay with Anakin—if her
loyalties to him were above
everything else. Padmé is a pretty
centered person so it’s not like
52 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
she’s going through a big internal
change; it’s the external things
that are changing around her
and she has to cope with that.
I definitely
appreciate the fact that the role
defines the true meaning of
feminism as I interpret it.
Feminism is often misconstrued
as women wanting to be like men.
True feminism for me is
bringing out what is particular
to women, because we are
different. I think Padmé is an
amazing example because she
is a politician and a leader of
many people. But rather than
being consumed with a thirst
for power as many of the people
around her are, both men and
women, she stays true to
her compassion and belief in
democracy and humanity. I think
that’s really important.
STAR WARS: REVENGE OF THE SITH
Dooku means “poison” in Japanese,
which is appropriate because he is
lethal. But he is not simply a bad
guy. He was good and then became
bad. At one time, Dooku was a
good man. He crossed over to
become a Separatist because he was
disgusted with the way the Republic
was functioning. He obviously holds
very strong beliefs. And maybe at
one time he was right—maybe the
Republic was corrupt, and he
decided he didn’t want to become
corrupt himself. So he started his
own group. Then, of course it
became a war. Everyone has a dark
side —everyone. The important
thing is to make sure the dark side
doesn’t overpower the light side.
Dooku makes the switch on his
own accord—nobody makes him
do it—which is different from
EPISODE Ill ee
Anakin. Anakin does so without
knowing it or even wanting it
and becomes enmeshed in a trap
by Palpatine. There is a lust for
power that initially emanates from
the Emperor who is very corrupt
himself. What was he like when
he was a young man? Who
knows? Not many people are
corrupt from the moment they’re
born—it does take a bit of time.
Christopher
Lee is full of stories. What a man!
He is a well of knowledge and
experience. He’s very happy to
share it all. I always tried to sit
down with him whenever I could
and get a story out of him.
I just played a
straightforward politician—now
there’s a contradiction in terms!
Palpatine is charming, smiling, out
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 53
© STAR WARS: REVENGE OF THE SITH
EPISODE Ill
for the good of the universe, and
its community. But underneath
there lurks a monster, so it was
very easy to build the character;
I just looked in the newspapers!
It certainly
helps to be a monster in monster’s
makeup. But George was very
interesting when we started
shooting The Phantom Menace.
He said, “You should think of
your eyes as his contact lenses,”
which is a great thing to say to
an actor. My face was actually his
mask and then when I put on the
mask, I become him. So that kind
of schizophrenia was always fun
to play, and in this film, it’s great
because one explodes through
the other, and now he is who he
is. This is when the true person
comes out, letting the evil fully
manifest itself.
The Emperor that you see in
Return of the Jedi looks like he
does because he’s very old and
evil—it is what he always looked
like. He just had the carapace of
looking like a fairly ordinary guy,
a politician who smiled a bit and
so on.
I don’t think George had
made up his mind, when we
started shooting, whether to
continually show Palpatine as
he really is after the initial
transformation or if Sidious
would go back and forth with
his appearance. I think that
when George saw Dave Elsey’s
wonderful makeup, he decided
that constantly going back and
forth would be a step back.
[Stunt costumes]
have to be detailed very closely
to the original costumes. For
Palpatine’s stunt costume, we
used exactly the same fabric as
we did for [lan McDiarmid’s
costumes]—they are complete
copies. In that case, we allowed
for extra padding to be worn
underneath by the stunt man.
54 | STAR WARS: THE SKYWALKER SAGA
I found that
when I read the script, not only
did I have a lot to say, I also had
a lot to do! Palpatine had turned
into an action man. I knew we
would be shooting the fight scenes
in about five days, so I didn’t have
long to get up to speed. Michael
Burn, a brilliant stunt double who
does most of my fight work, got
up to speed for me! My opponent,
Samuel L. Jackson, was an
extremely proficient swordsman
and very helpful and understanding
when I made mistakes.
I was able
to work with Ian McDiarmid a
little bit on Attack of the Clones
but because our relationship really
: THE OFFICIAL MOVIE COMPANION
grows in Revenge of the Sith, we
were able to work together more.
It was more than a pleasure to go
to work and have such a learning
experience. He was always open
about having a dialogue about the
work and wanting to talk about
the subtext of what was being
played. His character is so dark
and evil, yet he just goes in and
out of it with such ease that it
was amazing to watch. I can’t do
that. Ian really steals the show in
this film.
Anakin doesn’t
have a father—or if he does we
don’t know who he is. Revenge
of the Sith doesn’t provide any
definitive clues, leaving the whole
area ambiguous. There are a
few clues dotted around and if
anyone wanted to join the dots
then they can. What I liked
about this film is that there isn’t
a revelatory fact—there are
just a few possibilities.
I loved the
scenes where he did most of the
talking. There were a couple of
times where I just nodded my head
and agreed with the story he was
telling me. Also, there’s the scene
where Ian and J are at the opera,
and he’s telling me about another
master and apprentice where the
apprentice overthrows the master
and takes all his powers. That was
one of those scenes where I would
lose my place because of the
manner in which he was telling the
story and getting his point across.
The main day
for my part of the fight was also
the day we filmed the big scene
between Hayden and me at the
theater. The scene was originally
supposed to be in Palpatine’s
office, but George thought it
would be more interesting
putting it into a box of the
theater and he was right.
Palpatine’s one redeemable
feature is that he is a patron
of the arts! That was my biggest
dialogue scene and that was
shot at 4:20 p.m. on a Friday
afternoon after I had been fighting
all day. I can honestly say that
week— involving those dialogue
scenes, the fight, and wearing
the prosthetic—was the most
challenging of my acting life.
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 55
Learning the
moves wasn’t that difficult. Nick
Gillard really outdid himself for
this film and choreographed a
pretty spectacular fight. Ewan and
I trained together and laughed all
the while. I just couldn’t wait to
shoot the final duel. Ewan and I
would even escape the business and
chaos of what was happening on
set by stepping aside and grabbing
a couple of lightsabers and
practicing our fight.
The repetitiveness of having
to do each scene again and again
for all the different camera angles
—while trying to make each
take as perfect as possible—was
exhausting. It was difficult at times
because it was so hot and the
56 | STAR WARS: THE SKYWALKER SAGA
costumes weren’t really conducive
to the footing. We'd often get
tangled up in our own costumes,
which was aggravating. But at the
same time, we were fighting with
lightsabers, so it was like being a
kid causing a ruckus and breaking
a sweat!
There’s an
enormous amount of fighting
and it starts right after the opening
crawl with a sequence that in the
first cut lasted about thirty-five
minutes. Because it was the last
film of the trilogy, we really pulled
out the stops—there were no holds
barred this time!
I felt pretty
great about dying in Revenge of
the Sith. It’s a satisfying death.
From the time I was two or three
years old, my friends would
swordfight with sticks. It’s almost
: THE OFFICIAL MOVIE COMPANION
like I practiced for this death scene
all my life!
Nick Gillard and I have been
talking about my fight against
Palpatine for a couple of years,
and he graciously has been trying
to figure out a really wonderful
lightsaber battle for me to do.
He combined a lot of different
fighting styles, so it looks very
good. It’s spectacular and shows
off my skills. It shows many sides of
Mace; it makes him look dominant
and makes him look vulnerable. It
makes him sneaky and makes him
look strong. Mace is very at ease,
yet very lethal. I had to learn
ninety-seven moves in two or three
days. I then had to learn how to
speed up the moves and move at
the same time.
I’m very happy
with all the fighting scenes, even
though they were incredibly
exhausting to do. Hayden and
I were constantly filming each
sequence at such a fast pace.
We would film one scene right
after the other.
The fights were very slow-
going now that I’m a bit older than
when I filmed Episode I. For that
film, I’d fight all day long. I didn’t
care. Whereas now, it’s like, “Okay
guys, I think that’s it. ’ve reached
my limit.” At first, my movements
looked very wooden and it took
about two weeks for my style to
come back because my body had to
remember what it was like. There
was an enormous number of moves
to learn, and none of the fighting
was improvised. We had to perform
each move so quickly, we didn’t
have time to think about them.
Because we were moving so quickly,
our bodies had to remember where
the next cut was coming from. We
weren’t thinking, Okay, he’s coming
to my shoulder, now he’s going to
cut my head. It all had to be fluid.
I couldn’t wait
to see Palpatine as a big-action
villain, which he’s now turned
into because he has two rather
impressive lightsaber fights. I really
enjoyed fighting Yoda. It’s two
masters of good and evil having
a confrontation.
Right up to
the end, I think Obi-Wan still had
hope that Anakin would come
back from the dark side. However,
there’s a certain point where he
realizes that there is no hope and
the cloak comes off.
It was
important to Nick Gillard that
he installed a story to the fight
to show an exchange of power.
My character is meant to be the
Chosen One and I’m supposed to
be one of the better Jedi as far as
fighting goes, yet I come out in the
short end of it. Nick balanced the
fight perfectly so neither Ewan nor
I look substantially weaker than
the other.
I had a scene where Nick plays
a Jedi instructor who Anakin kills.
We had so much fun with it. I
clipped him right in the forehead
with my lightsaber, which was a
total accident. He thinks it was
intentional, but I didn’t mean to
do it! In the next take, he smacked
me in the head and got me back.
There is a lot of
fighting in this film—almost forty
percent of the film—and the end
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 57
battle is very long. I believe the
two combatants travel a quarter
of a mile during the fight and they
perform more than 800 moves.
There’s no dialogue during the
fight except for three lines, so it
was very important that the
swordplay acted as the dialogue.
The explosion of the fight
means that the first three or four
minutes contains all the flashy
moves. After that explosion, we
had to figure out what it would
be like for two people to fight
who know each other so well
—it’s like fighting yourself. We
did loads of sections where
neither man could get through to
the other—they matched each
other’s moves. Obi-Wan doesn’t
really want to kill Anakin. In the
end, Anakin makes a mistake by
getting too angry and Obi-Wan
doesn’t make mistakes.
Anakin doesn’t
want to do bad things but he’s
persuadable, as we saw in
Attack of the Clones in his
understandable overaction to
what happened to his mother.
This is something that Palpatine
uses; in some vague way, he may
even have been responsible for it.
Palpatine has arranged
everything in Revenge of the Sith
except that final duel between
Anakin and Obi-Wan. He finds
Anakin near death and, like all
arch-political pragmatists, he
converts a seeming tragedy into
an opportunity and rebuilds
him as this huge, unsympathetic
metal creature, thereby creating
the greatest villain of all time
—next to himself, of course.
Palpatine wanted Anakin, the
greatest warrior ever, to protect
the Empire.
The
prosthetic makeup was good
fun for me! It wasn’t the most
comfortable thing but it was
58 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
great to act in. I only had to be in
it for one day. It was liberating to
not have to see myself, and I got
to change my voice a little so I
didn’t have to hear myself either.
Having to take it off was a
nightmare. They glued every inch
to my skin, so that it would move
with my expressions. I think I
lost a layer of skin taking it off.
I was pleased
that when Anakin is almost
brutally destroyed, Palpatine is
relived to not only find him alive
but also because he is Anakin
Skywalker. There is one moment
that George scripted in a rather
casual way where I touch Anakin’s
forehead. I think that’s really the
STAR WARS: REVENGE OF THE SITH ©
EPISODE Ill
only human moment we see from
Palpatine—just a moment of
sympathy and compassion for
another human being. Not the
usual ingredients of the Sith.
It was a
thrilling moment, lying there
on the operating table as that
mask came into frame. And then
putting on the full Darth Vader
suit was something I had been
looking forward to since I found
out I got the part. The costume
department made a brand-new
Darth Vader suit. They were
really nice to allow me to get into
the Darth Vader suit because they
could have just put some really
tall guy into it. I begged and
pleaded! They had to make a
big muscle suit, like one of those
sumo wrestler suits that you get
into at the fair, so that I would
fill the costume out. The costume
team put a little breathing
apparatus on the costume so
when I came out, it felt like the
whole Darth Vader.
You’d think putting that suit
on would be pretty empowering,
but it was really quite the
opposite. I didn’t really have any
peripheral vision, so my sight
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 59
te STAR WARS: REVENGE OF THE SITH
PISODE III
>
was limited. Plus, all the sound
around me was muffled, which
made me feel quite disoriented.
It was a heavy costume and I
was walking around in five-inch
stilts to compensate for the height
difference. It was definitely not the
most comfortable thing to have to
spend more than ten minutes in. It
was really hot and kind of like
putting hydrogen peroxide on a
cut. There was a fair amount of
staring when I first emerged as
Vader. For me, it was more about
trying to stay on my feet, keep the
sweat out of my eyes, and make
it up the stairs without falling
over! I just kept picturing how
mad everyone would be if I
tripped and scuffed the helmet
or something. At the same time,
it was quite something to stand
next to Darth Sidious and say the
lines. Even though my voice was
replaced by James Earl Jones, it
felt good to say the dialogue.
We didn’t make any major
changes [to the Darth Vader
costume] at all, except we
made the costume fit Hayden
Christensen—it’s completely
new. There are some things that
we’ve [corrected] however, like
the helmet —the original was
completely uneven. When it was
first sculpted, it was obviously
done by hand, and one side of the
face is slightly at an angle. We
made it so that it was symmetrical.
It allowed Hayden a lot of extra
head movement that wasn’t
possible before.
I was
always curious as to what Darth
Vader looks like under the
mask and now I know he
looks like me!
The final
scene was the first time I ever
worked with a green screen. It was
kind of like playing make believe.
I walked out onto the set and Joel
Edgerton (Owen Lars) wasn’t
there! He filmed his part in Ireland
many months later, so they had a
stand-in for him. George said to
me, “Imagine epic music playing
as you Stare out at this amazing
sunset!” My eyeline was actually
a broomstick!
For Lucas, Revenge of the Sith
marked an end of his overseeing
the Star Wars movies, though it
certainly wasn’t the end of the saga.
George Lucas: It’s like having
your kids going off to college.
They still come back when they
need money! They’ll be there for
holidays. We’re doing the TV
shows, so it’s still going to be
around. Now it’s on its own, it’s
going to be doing its own thing,
but I reserved the theatrical arena
for this saga, which started out as
a two-hour idea and turned into
a twelve-hour idea!
Ewan McGregor: I had a couple
of moments while filming Revenge
of the Sith that have taken me back
to my childhood and both have
been filming with Anthony Daniels.
Being on set with C-3PO made me
remember what it was like to be
seven years old and watching the
original films. I felt the excitement
of being in the prequels now. I was
also in a scene with R2-D2, which
was weird as I found myself quite
choked up about this droid!
Anthony Daniels: I didn’t realize
that I had the last line in Revenge of
the Sith because the script can often
change. I had the first line of the first
movie, which was, “Did you hear
that? They shut down the main
reactor. There'll be no escape for the
princess this time!” I didn’t really
know what I was talking about! I’d
never been in a film before and I
thought, This is weird. George and
I, twenty-eight years later, walked
onto the sound-stage in Australia
and saw the same set and it was an
STAR WARS: REVENGE OF THE SITH
24 /
extremely odd little time jump.
The last line isn’t the most
Shakespearean of lines, it’s, “Oh
no!” Jimmy Smits [Bail Organa]
said, “How can I say this? How
can I have this droid’s memory
wiped just like that?” I just
replied, “Think of him as a
washing machine, he’s a household
object. He doesn’t feel.”
Samuel L. Jackson: Everyone sees
something different inside these
films. Such as the heroic, societal,
and political aspects. The story itself
is one we all know; it’s like all
morality tales, the good vs evil kind
of thing. But it’s still kind of tongue
in cheek because it’s hard to tell
what is good and bad—you get to
make your own choices about that.
As I read the story for Episode III,
I felt the Shakespearian aspects
would cause a lot of debate among
people. In the end, I love the way
it all plays out.
George knows his audiences,
and he cares about them. He cares
about the kids; kids need stories
that are for and about them.
Christopher Lee: Star Wars is the
ultimate in filmmaking and film
viewing for millions of people the
world over. In many ways, it is like
a Shakespearean tragedy. Don’t
forget that, eventually, good
triumphs over evil.
John Williams: It was one of my
great ambitions in life to complete
this journey with George, step
by step.
George Lucas: The first film is
always the toughest, because you
don’t know what’s going on, and
you have to learn as you go!
Everything is a drama and it drives
you nuts. Then, you have the next
one, and the next one, and each time
it gets easier and easier because you
learn what to expect. When you get
to the last one, it’s a piece of cake.
It’s very much like that with the
movies. The first was definitely the
hardest and the last one was
definitely the easiest. ©
EPISODE Ill
oe
21 / Hayden Christensen
on set as Darth Vader
confers with his true
master, George Lucas!
22 / George Lucas
gets hands on,
showing Dave Elsey
wheat an Utapaun
should look like.
23 / Filming the last
scene of the movie in
the studio before the
desert is added as a
background.
24 / Grand Moff
Tarkin makes a surprise
appeerance during the
closing moments of
the film.
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 61
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EPISODE Ill
STAR WARS: REVENGE OF THE SITH
ESSENTIAL
TRIVIA
In her book Glittering Images,
art critic Camille Paglia named
George Lucas as the greatest artist
of our time. She cited the duel on
Mustafar as his masterpiece.
The film features cameo
appearances from Jeremy Bulloch
(as Captain Colton), and the Lucas
family: George Lucas (as Baron
Papanoida), Katie Lucas (as Chi
Eekway Papanoida), Amanda
Lucas (as Terr Taneel), and Jett
Lucas (as Zett Jukassa).
Originally planned for the first Star
Wars movie, the battle on Kashyyyk
is our first and only big-screen visit
to the Wookiee homeworld.
The Jedi Shaak Ti was originally
scripted to be killed by General
Grievous. Although the scene was
shot, it was deleted from the final
cut of the film.
Steven Spielberg assisted in the
previsulization of the film, notably
in the duels between Obi-Wan and
Anakin, and Yoda and Palpatine.
He also oversaw the animatic of an
extended chase on Utapau between
Obi-Wan and General Grievous.
At the end of Obi-Wan and
Anakin’s duel, Obi-Wan picks his
fallen apprentice’s lightsaber up
from the ground. This lightsaber is
then given to Luke in A New Hope.
The sound of General Grievous’s
cough in the film is George Lucas’
own cough that he suffered with
during production.
When Anakin, Obi-Wan, and
Palpatine land in the transport
ship, a YT-3000-class ship similar
to the Millennium Falcon can
briefly be seen docking.
Aiden Barton played both Luke
and Leia as babies. He is the son
of editor Roger Barton.
Actress Genevieve O’Reilly filmed
scenes as Mon Mothma which were
cut from the final edit. However,
she was eventually seen on screen
as the character in Rogue One: A
Star Wars Story.
A scene showing Yoda arriving on
Dagobah in his ship was deleted
from the final cut of the film.
Peter Mayhew reprised his role as
Chewbacca for the first time since
Return of the Jedi.
Revenge of the Sith is the only film
in the prequel trilogy to feature
C-3PO in his gold casing.
During the battle of Kashyyyk,
a swinging Wookiee emits a
“Tarzan” yell, echoing the same
yell when Chewbacca swings
onto the AT-ST in Return of
the Jedi.
This is the only movie in the
saga in which Darth Sidious
wields a lightsaber.
In an early draft of the screenplay,
a young Han Solo was to have
been revealed to be living among
the Wookiees.
A line in which Palpatine reveals
that Dooku paid the Tusken
Raiders to kidnap and torture
Shmi Skywalker to death was cut
from the final film.
An early piece of concept art
for the film featured General
Grievous as a child sat in a
floating chair with two IG-88
droids as bodyguards.
Revenge of the Sith was the
first Star Wars movie to get
a PG-13 rating.
Revenge of the Sith was the first
Star Wars film not to be widely
released on VHS.
When Obi-Wan leaps down to face
General Grievous, he says, “Hello
there!” This is also his first line in
A New Hope.
The images of the volcanic
eruptions on Mustafar utilized
real life footage of the eruption
of Mount Etna in Italy.
Several basketball players were cast
as Wookiees in Revenge of the Sith
after the casting team put out a call
to Australian basketball teams
looking for “taller than tall guys.”
The movie features a blockade
runner similar to the Tantive IV.
James Earl Jones, Ian McDiarmid,
Kenny Baker, Anthony Daniels,
Frank Oz, and Peter Mayhew are
the only actors to feature in the
original and prequel trilogies.
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 63
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STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 69
© STAR WARS: A NEW HOPE
EPISODE IV
doubt about it that it’s the same
for all of us. It’s built in. A certain
amount of your behavior is based
on accepting your environment
and a certain amount is based on
a resistance to those things you
want to change. Her cynicism
about her environment is what
makes her the right kind of
princess for the movie.
It was wonderful
because [Harrison and I] were
both about the same age. We both
knew what our characters were.
You don’t do three movies playing
closest buddies without some of it
rubbing off a little bit.
There are laughs
in Star Wars. I don’t think there
are jokes. The jokes are sort of
in that long chase through the
Death Star. There are lots of
physical jokes in there.
I did sketches just to
illustrate the central idea. The
general look and leg-wrapping
thing for Luke came from a sketch
I had done. The stormtroopers
were definitely mine. I made the
biggest contribution from a design
point of view, simply because, at
first, I was the only designer
working on it. There were things
like Darth Vader’s mask, which
evolved from concerns I had about
him dying on the way between the
two spaceships [in the draft that
McQuarrie was initially working
72 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
STAR WARS: A NEW HOPE
EPISODE IV
7 / George Lucas
directs a closeup
of some of the
Mos Eisley cantina’s
patrons.
8 / Phil Brown and Mark
Hamill bond on set.
9 / Anthony
Daniels enjoys some
refreshment while
filming in the scorching
Tunisian desert.
10 / George Lucas
directs the ill-fated
bounty hunter, Greedo.
11 / Chewbacca gets a
brush up, courtesy of
make-up artist Kathleen
Freeborn.
12 / Luke, and his
friends, together for
one last time, in a
scene that was cut from
the final edit. (Overleaf)
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 73
STAR WARS: A NEW HOPE
EPISODE IV
on, Vader descends through space
to attack the Tantive IV]. I don’t
think he thought we would keep
the mask on him all through the
picture. In the end, it was logical
for him to keep the mask on for
the whole picture. Why take it off,
when there could be a mysterious
reason for him to wear it, which
nobody needed to know about?
I didn’t really
notice any difference [between
U.S. and U.K. crews]. The English
crews are real democratic. They
don’t seem to be as “star oriented”
as American crews can sometimes
be. They treat everybody just
about the same and are really
pleasant. I don’t think that they
understood what was going on
for a long time. They didn’t know
what it was that we were acting
in and why. They didn’t know
whether it was some kind of comic
book or what. They had no way
of knowing that the movie was
operating on several levels at the
same time, because it’s such an
American kind of tale. I think
it was the humor they didn’t
quite see.
76 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
I was
basically hired as a special
effect. David Prowse was the
guy acting as Darth Vader,
okay? Why take that away
from him? I got paid $7,000
for only two hours work. So to
me, that was like I was rolling
in a bunch of clover. Of course,
STAR WARS: A NEW HOPE
at the time, I did not know that if
I had asked for percentage points
of the gross, I would have been a
millionaire overnight.
The process started with
David Prowse being molded from
head to toe so that a full plaster cast
could be produced for me to work
on. As the mask and helmet were to
be sculpted first, the head and
shoulders were cut from the body
and fixed onto a modeling stand.
I began by sculpting the mask, back
and front, ensuring that there was
at least a quarter inch of clay on the
plaster head at any point to allow
for casting thickness, and to be sure
it would fit well on Dave’s head.
After creating Vader’s mask in clay,
it was passed to the plasterers to
mold and reproduce in plaster.
I then carved and sharpened the
plaster cast to a finish. At this point,
I started modeling the helmet in clay
over the plaster mask to ensure the
overall appearance worked. The
same methods of molding and
casting in plaster were again carried
out. The final molds were made
from the plaster cast, and fiberglass
versions were produced.
The plaster head and shoulders were
then reaffixed to the body
and it was moved to the main
plaster shop for me to model the
armor. Working from Ralph
McQuarrie’s paintings, I sculpted
the chest armor, two shoulder bells,
and shins. Again each piece was
molded and cast in plaster, the
lines carved and sharpened with a
final remold, and cast in fiberglass.
OV der): On
the very first shot we did, I had
to walk up a corridor. The camera
was following me on a track going
all the way up the corridor. I had
decided that Vader would have a
brisk, purposeful stride, meaning
Wh
EPISODE IV
that everybody had to trot quickly
beside me to keep up. I strode to
the end of the corridor and George
said, “Sorry David, you’ve got to
slow down. The camera can’t keep
up with you.”
George Lucas knew his
subject matter, and the effects were
an eye-opener. An actor must think
of his part and try to do it to the
best of his ability, but the director
must think of the technical side,
which George did. I was knocked
for six when I saw the film at the
premiere. I was riveted. Star Wars
was a picture you had to see again
to take in what you missed the
first time.
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 77
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STAR WARS: A NEW HOPE
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EPISODE IV ©
I remember asking George [Lucas],
‘Why am I living with my aunt
and uncle? What happened to my
>» The film was produced by George
Lucas’ frequent collaborator,
Gary Kurtz.
Mark Hamill: Gary and George
are both so unique. You can’t really
compare them to any other
producer-director you work with.
Gary is a kid, too. The first time I
really made a connection with Gary
was in Tunisia. He gets this excited
little grin that he sort of suppresses
and tells you all about Scrooge
McDuck and the island of
PagoPago, or whatever.
He’s really a partner with
George. I’ve worked more closely
with the producer on this than on
anything. He’s really accessible.
They both are. You can walk up to
them and ask them questions. There
is no fear of intimidation there.
There is not a power thing in it.
16 / Carrie Fisher as
Princess Leia.
17 / Garrick Hagon goes
before the cameras
as Biggs takes to his
X-wing.
18 / X-wing pilots
and rebel troops
enjoy a well-earned
lunch break!
mom and dad?’
39
Mark Hamill
We're all in it together. I think
George is really flexible about letting
me try things. I mean, a lot of times
you wouldn’t even tell him what you
were changing and you would do
things and he wouldn’t say anything.
Whether he knows you’re doing it
or not, I don’t know.
He told me not to say “THX
1138” anymore. We were bringing
in the Wookiee, he’s handcuffed, and
the guy says, “Where are you going
with this thing?” And the line was
something like, “It’s a prisoner
transferred from cell block....” And
then lots of letters and numbers.
I love in-jokes, so I said, “This is
prisoner transfer from THX 1138.”
He came over and said, “Don’t do
that.” But we did four more takes
and by the end I was doing it again.
I think I did it on one he printed!
With explosions and everything else
involved, I just kept doing it.
The film was a real risk for Lucas,
with the creation of the now-
legendary visual effects studio
eating into a large chunk of the
small budget.
Paul Hirsch (editor): I remember
George showed up one day with
a plastic core in his hand, with a
piece of film about ten feet long
wrapped around it. The actual
usable footage on it was around
two or three seconds. “This cost
a million dollars,” he announced.
It was the first shot produced by
ILM. The million dollars he
referred to was the start-up cost of
getting ILM off the ground. It was
of a pair of laser cannons on the
surface of the Death Star firing.
George Lucas’ risk ultimately
paid off... and then some, as talk
turned to a sequel.
Carrie Fisher: Star Wars was an
introduction. The relationships
between the main characters
were being established. It was
made, I think, as a film to be cut.
We would shoot a scene and then
make any needed changes.
Joe Johnston: (effects illustration
and design): [Star Wars] blew
everything away. The start of the
film caught the audience off guard.
The whole opening sequence was
George’s idea; he knew exactly
how he wanted it to work.
Mark Hamill: I was peppering
George with questions all the time.
All that extraneous minutiae that
fans revel in was just dripping
from every pore in my body. What
planet does a Wookiee come from?
Where did Chewbacca learn how
to fly a starship? And I remember
asking George, “Why am I living
with my aunt and uncle? What
happened to my mom and dad?”
He made up lies, because he
couldn’t really tell me what
was in store.... ©
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 81
A ene time ago in a galaxy for for awey..
TWENTIETH CENTURY-FOX Pi
\ LUCASFILM LTD, PRK ,
STAR WARS
Starring MARK HAMILL HARRISON FORD CARRIE FISHER
PETER CUSHING
ALEC GUINNESS
Written and Directed by GEORGE LUCAS Produced by GARY KURTZ Mu by JOHN WILLIAMS
PANAVISION” PRINTS BY DELUXE" TECHNICOLOR <0 “7 beams
PG PagenTAL GUOANCE SUBGESTED
STAR WARS: THE EMPIRE STRIKES BACK
iy
worry about the special effects.
EPISODE V
You dream up what you want
to do and no matter what they
say on set—they’ll say that it is
impossible—you do it. We'll find
a way to make it work.” And they
always found a way to make
it work.
The first shot of the whole film
didn’t work. We were in Norway
and the tauntaun froze up! We
couldn’t get the smoke to come
out of its nose and the movements
weren’t right because the wiring had
frozen. The temperature was twenty
six below zero.
When we got back to Elstree,
on the first day of shooting, we were
in the tunnels of Hoth and R2-D2
was supposed to race along the
corridor. Everything was tested the
night before; we staged it and lit it.
I called “Action!” and he went two
feet, started spinning in little circles
and didn’t go forward. I thought we
might never finish the film at this
rate! The special effects people fixed
it and we started again, and it did
the same thing! It worked on
floorboards the night before, but
they had put artificial ice, which was
made from plastic on the floor and
R2-D2 didn’t work on plastic! I
asked them to bring an empty
R2-D2 prop and we put a wire on it
and pulled it along. We got that shot
in one take!
I sculpted a
mock-up of the tauntaun and sent it
to the Star Wars art department in
England. There they constructed the
full-size, eight-foot-tall model that
was used for the close-ups filmed in
Norway and at EMI-Elstree Studios.
In the meantime, I perfected a
twelve-inch tauntaun model to use
for the animation. This version was
sculpted in clay and then cast into
a very flexible rubber material. We
built a steel ball and socket skeleton
that was put on the inside of the
rubber model.
The Empire
Strikes Back was the hardest film
that I ever worked on, and one of
the most rewarding. I thought the
work came out really good and I
liked the film a lot. That’s because
we had just moved up from Los
Angeles to San Francisco and we
had to crew up all the people here,
an awful lot of them locally,
because we didn’t have very many
who came up from L.A. for the
90 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
show, and it was just very
difficult. If you look at Empire
compared to the original Star
Wars, it’s far more complicated.
The snow
that was used was also used in
Stanley Kubrick’s The Shining
(1980). It was a substance called
dendritic salt that would vaporize
a bit. We all had headaches for a
while. But everyone had a wonderful
time. It was like Christmas; George
Lucas set the tone.
George visited
the set when we were shooting
the X-wing being pulled out
of the water. It had taken a long
time to set up the shot and the
haze was right because we closed
the set off so that we actually had
clouds hanging. The ship looked
beautiful with moss and seaweed
hanging off it, and suddenly the
two wings just collapsed. I felt so
badly for George because I knew
it was his money. They crew said
they hadn’t realized it wasn’t
waterproof. The wings were made
of wood and they couldn’t take
all the weight. It was rebuilt with
steel. It took ten hours to get a
six-second shot.
The Empire Strikes Back featured
the debut of a new character,
who would become one of the
best-loved characters of the entire
saga, the Jedi Master, Yoda.
Frank Oz (Yoda): Jim Henson
was originally asked to perform
Yoda but he recommended me
because he had a company to run.
Gary Kurtz visited me while I was
filming The Muppet Movie (1979)
and showed me a picture of Yoda.
Sometimes I have trouble getting
characters, sometimes characters
evolve, but Yoda hit immediately
off the page for me. I just liked
the character and I couldn’t
actually describe why. That,
along with George and Lawrence
Kasdan’s words were how he
came about. What I liked about
him was this extraordinarily wise
and powerful figure being this
little, petty guy. Irvin Kershner
suggested the scene where Yoda is
fighting with Artoo with his cane.
Yoda is like a wise Zen master,
but like any Zen master, he’ll
smack you if you’re wrong! I
always likened Yoda to Winston
Churchill who might be having to
make great decisions about the war
and yet he’s also wondering if he
should take that last candy in the
dish or not because he wants it
really bad. It’s that paradox that
makes him more human. Also, so
much of why Yoda is successful is
because Mark Hamill believed in
him. If Mark hadn’t responded to
Yoda so well, then the audience
wouldn’t have.
Irvin Kershner: Stuart Freeborn
who made Yoda was the sweetest
man in the world. He engineered
and built Yoda. He did a beautiful
job—except when we went to
shoot, I couldn’t get Yoda to blink!
I think I only got two blinks out of
him in the whole picture!
Mark couldn’t hear Yoda
talk—everyone was under the
9 /
7 / Art director Joe
Johnston prepares the
miniature probe droid
for filming.
8 / Frank Oz and Jim
Henson take a look
at Stuart Freeborn’s
Yoda head.
9 / Mark Hamill ready
for action as he films
scenes for the Battle
of Hoth.
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 91
STAR WARS: THE EMPIRE STRIKES BACK
ih
floorboards. I’m the only one
who could hear both of them. We
would rehearse and then do a take
EPISODE V
when we had the timing right.
Mark really did a terrific job.
They just gave me my
scenes and I said, “I can’t do this.
If I play a character who is the
wisest character in the movie,
I have to know what is going on
in the world he’s involved in.”
I was then sent the full script.
I don’t mind the
snakes that much. I just don’t like
to handle them. You’re cautious
with snakes just like you are
cautious with any animal. I was
all right until one bit me. I was
pulling snakes from the X-wing’s
engines. The handler told me to
hold them about eighteen inches
from the head so the snake could
writhe and everybody could see
that it’s not rubber. The first one
had secreted this milky liquid,
which had blinded him. Every
time I touched him he flinched,
so I flinched. It’s some of the best
acting I’ve ever done. I looked so
calm and yet inside I was scared!
The snake bit me on the eighth
take. He wasn’t poisonous, but
being bitten was scary. The whole
film is constructed to make me
look like a hero, and I was
running around yelling that
the snake had bitten me!
We were
shooting a difficult scene with
Harrison and there were some
special effects in the scene. We
shot it in one take and I said,
“That’s it, let’s move on” and
Harrison stopped. He said, “Wait,
was I good or did the special
effects work and therefore you
don’t want to shoot it again?”
I said, “Harrison, by now you
have to trust me. You were great.
The special effects happened to
work but you were great.” And he
looked at me with that wonderful
look of his and said, “Uh huh.
Okay.” And he pointed a finger at
me, wagging it and said, “Now,
>
you better watch yourself
They gave me
Harrison Ford instead of R2-D2.
Han Solo was a pretty good R2
substitute. It was a good dramatic
coupling. His spikey approach with
See-Threepio’s need for everything
to be proper worked really well.
It was wonderful
the way they split up the droids,
which is the last thing you would
92 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
STAR WARS: THE EMPIRE STRIKES BACK ©
EPISODE 'V
expect. It was like taking Laurel
away from Hardy, but that is the
beauty of George’s approach—
just when you think you know
what is coming next, you find out
you’re wrong!
C-3PO is
transparent. I think that is why
he is liked by so many people,
There’s no guile, no deviousness,
no mystery. He is so obvious, and
he always states the obvious. In
the wrong circumstances, that
can be very irritating, but it can
also be very funny too.
I must be impossible to work
with because it is very hard to
hear what I say and you can’t see
my eyes. I bump into my co-stars,
I hurt them, jab them with my
elbows, and I clank. It can’t be
much fun!
At the time, the most influential
American critic was Pauline Kael
and she called it the most beautiful
-looking film of the year and I
think she was spot on. It was shot
and framed wonderfully.
Irvin Kershner was great at
foreshortening [dialogue]. Irvin
was brilliant at just honing it
down to a single sentence that did
the job. He’s a great photographer
—he is a great stills photographer
of international note anyway, he
has exhibitions around the world.
That’s why it looks so good.”
Kenneth Colley and I only filmed
for a week. There was one scene
with Darth Vader and myself. We
didn’t meet the main actors. As far
as we were concerned, we had no
idea of the huge success of Empire.
At that time, my next-door
neighbor was the associate
producer Robert Watts and he
invited me in. Despite having such
’
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 93
STAR WARS: THE EMPIRE STRIKES BACK
EPISODE V
a small part in it, I think Empire
is still the best of the lot.
I said to George Lucas “This
man is a general. You don’t get to
be a general if you’re a wimp.” Of
course, you have to be subservient
to Darth Vader, he’s the guv’nor, but
you don’t have to be sycophantic.
Then [Lucas] said “No, absolutely
not.” And in that one scene, I stood
up to Darth Vader a little.
My
half-brother, Robert Watts, said
come and see if I fit into the suit.
They were looking for people to
fit the costume. My whole kit was
fairly light. The costume was hot,
but I put up with it. Peter Mayhew
suffered more than anybody. He
must have lost pounds every day.
George Lucas explained that
Boba Fett was methodical in his
movement. The costume helped
a great deal. I think the secret to
playing Boba is the less you do, the
stronger the character is. There is
no point in him waving his gun
around. He is very cool. He doesn’t
move much. I thought of him as
Clint Eastwood in armor. He has
respect from people because he
captured Han Solo. He answers
Darth Vader back and he has a
fantastic costume.
The gas jet
on Boba Fett’s wrist was practical,
originally—the effects guys made it
a working flamethrower but George
Lucas decided it was too dangerous.
Also, it was bloody heavy!
I believe I got the role
of Boba Fett’s voice because I was
up for the voice of Yoda prior to
Frank Oz being cast. I also ended up
doing the voiceover for The Empire
Strikes Back underwear line!
Steve Lanning, the
second assistant director, and
Jeremy Bulloch asked me to cover
as Boba Fett for a couple of days
so I played him in the scene where
he confronts Vader and says, “He’s
no good to me dead.”
94 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
Boba Fett is
memorable. The name is a good
one; George has a way with
names. I don’t know where he gets
them from. We made Boba Fett
look like he’s been through hell.
He is a frightening dramatic
element to create tension that puts
Han Solo in danger. I guess the
look was okay because the dolls
have sold!
Lando is a guy
who belongs in the future. He
has transcended all the questions
and dilemmas that we face, the
usual antiquated ideas about
what a person is and what a
person should be. I had a good
intelligent understanding of the
character. I really wanted to
make him a dashing guy.
Being a hero was a big part
of my thinking at the time
STAR WARS: THE EMPIRE STRIKES BACK
because I really wanted to create
something that nobody seemed
to want to look at. I have always
seen myself that way and I
wanted to present myself that
way. So it worked.
I tried to make Lando a
romantic character but there is
also an absurdity to him. I see
myself as a walking absurdity.
If you’ve
got a part where you are walking
around with lights flashing on
your head, you can’t really fail,
can you? Originally, Lobot had
quite a few lines but they were
just questions put to him by
Lando so I wasn’t too bothered
to see them go. The headpiece
uy
was murder to wear. It had to be
EPISODE V
self-contained, so it was battery
powered and very heavy. I was
glad to take it off at the end of
the day.
When the
movie came out, I would pick
my daughter up from school and
these kids would run up to me
and say, “You betrayed Han
Solo!” I would find myself trying
to explain the whole situation!
Lando loses everything. He even
stands up to Darth Vader, which
most people don’t do.
There was steam
coming up from the floor. It was
so hot that David Prowse and
I had to have our helmets taken
off every three minutes. We were
dripping with sweat. I remember
treading on his cape coming down
the stairs of the carbon freezing
chamber. I trod on an Ugnaught
and there was a yelp. I thought it
was a real Ugnaught noise!
Irvin Kershner used to shout
out directions for that particular
scene. And then ask, “Have you
said your lines Boba?” because no
one could hear what I was saying
under the helmet.
The most trouble
we had was when the scene is
written by, for instance, Harrison
and the director, without my
being there. The scene where
Harrison said, “I know” was
rewritten and was great, but I just
felt that I needed to be present
when a scene that concerns me
is redone. We didn’t have any
trouble doing that scene because
Harrison and I know each other
95
STAR WARS: THE EMPIRE STRIKES BACK
Wh
17 / The tables turn
as Lando leads the
escape of the Imperial
occupation of
Cloud City.
18 / Jeremy Bulloch
appears out of the
Boba Fett armor as
an Imperial officer.
19 / Darth Vader’s plan
begins to come to
fuition as Han Solo is
frozen in carbonite.
20 / Chewbacca and
C-3PO, characters
brought together by
circumstance over the
course of the movie.
EPISODE V
Darth Vader saying
‘Iam your father’ made
perfect sense for this movie.
Lawrence Kasdan
» so well. After all the publicity
tours and talking about ourselves
and the movies endlessly, we
developed ways of getting
through scenes like that.
Alan Harris (Bossk): Originally,
they made a complete body mold
around me for Harrison Ford,
but they decided they wanted
something people could carry,
so they made another one on the
floor. Harrison’s head was added
to the prop to give the illusion he
was frozen in carbonite.
Anthony Daniels: It was a
disgusting set because it was so
steamy, and there was a horrible
smell of wet rust in the air. It
was actually not very pleasant.
I was on Chewbacca’s back.
There was fog or incense added
for atmosphere.
Peter Mayhew: See-Threepio
was in a cargo net, and the net
was attached to my back, and
underneath the costume, there
was a body belt, and the top half
of Threepio’s body was literally
hung from a bucket. His arms
were tied with fishing line, which
ran under the costume and onto
my hands, so as I ran, his hands
moved in the opposite direction!
The head was moved by having
a thin line down though the neck
under my shoulder onto the finger
of my hand, so as I moved my
hands, his head swiveled! It
weighed thirty or forty pounds.
Those four days of shooting were
the worst.
Mayhew, clad in hot fur and
carrying more than most, had
additional difficulties filming on
the Cloud City set.
Peter Mayhew: One Friday
afternoon, we were filming on
Cloud City. We were doing all the
chases through the corridors out
to where the Falcon was docked
and I took a hard right down the
corridor while lugging fifty pounds
worth of Threepio on my back and
everything just went black. The next
thing I knew, I was on the ground
and everybody was crowded around
me. They checked that I was
breathing and assumed that I was
all right. They were more worried
about any damage to Threepio!
They decided to try a body
double to give me a break and it
didn’t work at all. The guy wasn’t
as tall as I was, and didn’t have
double joints, so there’s no way
that somebody could imitate
how I played the character. That
information was inside my head
—you couldn’t put it down on
paper. We re-shot the scenes again
on Monday and it was all OK.
The film climaxed with a major
revelation that changed the shape of
the saga.
Mark Hamill: Luke failed when
he went to Bespin. Some feel it
was earlier, when Luke took his
lightsaber into the cave, despite
Yoda’s warning. Yoda was telling
Luke that in the larger scope of
things, weapons were not
important. In a conflict of the
96 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
17 /
human element, like between father
and son, your priorities have to be
very clear. Luke’s failure was in
leaving Dagobah much too early.
The confrontation on Bespin was
pretty much one-sided. Luke was
proficient as a swordsman but
suddenly realized that Vader had
only drawn him to Cloud City to
lure him to the dark side.
Lawrence Kasdan: Darth Vader
saying, “I am your father” made
perfect sense for the movie. Most
movies are about the same issue—
about how part of you wants to
follow your desires and the other
part wants to do what’s right. One
is the dark side and the other is the
light side. We all face this every day.
That’s what most art is about.
James Earl Jones (Voice of Darth
Vader): Darth Vader doesn’t
express himself with his voice.
The words are there, he just lays
it out and that’s it. Vader is a
man who never learned about the ®
STAR WARS: THE EMPIRE STRIKES BACK
th
beauties and subtilties of human
EPISODE V
expression. We figured the key to
my work was to keep it on a very
narrow band of expression. There
was no way to enlighten that
voice with an awareness. I had
to keep the awareness out of Darth
Vader’s voice—take all humanity
out of it. It was also important that
he not sound like an American and
to keep it universal, like he could be
from anywhere, anytime.
I recall thinking that Vader
was lying when he said, “I am
your father.” At the time, I just
didn’t know for sure. It deepened
who Darth Vader was. I didn’t
question anything. I just read
the lines.
One of the most
difficult things was shooting
Darth Vader talking to Luke
who’s hanging thirty feet above
the ground, held up by a little
wire. Two giant fans were
blowing him, and he was shouting
out lines that had nothing to do
with what everybody else heard,
because the crew didn’t know
about Vader being Luke’s father.
David Prowse, who was playing
Vader, didn’t know either! I gave
him lines so that his actions
would match what he seemed to
be saying. Nobody could hear the
lines except me and Mark. Mark’s
emotions were perfect.
My two
boys would come on set and play
in the cockpit of the Falcon with
Peter Mayhew, Harrison Ford,
and Mark Hamill in-between
takes. My youngest son Kevin,
who was four at the time, didn’t
have his two front teeth and just
couldn’t say “Harrison.” One day
Harrison said, “Listen kid, if you
can’t say Harrison, just call me
Peaches,” at which point Mark
Hamill came over and said, “Well
if you’re calling him Peaches,
you’d better call me Cream!”
For some reason, Wedge was
alive at the end of Star Wars.
When I saw the film for the first
time at the cast and crew screening,
I thought that my character had
been blown up! And then I got the
call for the sequel. I had time to do
the second film and had become
friends with Mark Hamill. When
we made the second one, our wives
were both pregnant. Mark used to
reference me as George Lucas’
Token Survivor!
It was difficult
at first because I was the new boy
on the block. They were like a little
family—and that’s what George
creates; he creates a family.
Working on
Empire was a very good
experience, despite its complexity
and difficulties. I always felt that
there was a caring organization
backing me up, supervised by
George Lucas, that understood
filmmaking. Usually there’s a lot
of ego involved but there was
none with Empire. Even though
it took over two and half years
to make, it was one of the best
experiences I’ve ever had.
98 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
Empire reminds me
of a time in our lives when we leave
home and discover it can be a hard
world out there. I was surprised and
delighted over Empire’s success even
more than Star Wars. Star Wars
became a pop phenomenon so you
really can’t judge its success and
Empire’s with the same box office
yardstick. It was the profits from
Empire, not Star Wars, that made
possible the rest of the Star Wars
movies that George Lucas had
already planned.
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Mark Hamill: George was very
amiable as far as suggestions go.
I found a photograph of a
character in a book about Akira
Kurosawa, with shaved widow’s
peaks and a top knot with a bone
in it, and an eagle’s claw earing.
I decided that was Luke’s new
look! When I brought that photo
to George, his face remained the
same, but his eyes turned into little
kaleidoscopes of fear! I thought
Luke’s hair should have been
shorter, more military looking but
George was worried that with the
black costume, it might come off
a little stiff and stark. I told
George that my costume was
very Vaderish and he said, “It’s
supposed to be.”
tichard Marquand: A director
often asks, “What is the very
worst thing we could make the
heroes do?” So, we invented a
sandstorm which we didn’t use!
yaniels (C-3PO): The
set seemed so claustrophobic and
dark, which wasn’t helped by the
incense used to give “atmosphere”
—a kind of nightclub fog. For
me, Jabba’s palace was a trial by
smoke! But it looked good, and
in a movie, that’s what counts.
For the most part, the
space was rather crowded with
rubber-headed creatures, but
the crew squeezed in too. Carrie
[Fisher] felt a lot better after she
took off her Boushh mask. A role
like C-3PO would not be an
option for Carrie! But then, I
wouldn’t relish sitting around in
her metal truss either. I think she
felt a bit conspicuous on the first
day. But on a set, you get used to
odd experiences very quickly. Or
you get another job.
oby Philpott (Jabba the Hutt,
uppeteer): After the period of
fittings, and a brief practice, we
found ourselves arriving onto a
very busy set, and climbing inside
Jabba through a hole underneath.
From then on, Dave [Barclay] and
I were mainly alone apart from
when Mike Edmonds was in
there, too, whenever the tail was
in the shot! We had headsets, so
we could talk to the rest of the
team (operating the eyes by radio
control, and so on). We could
also hear Richard Marquand’s
instructions. Dave did the right
arm and operated the mouth, and
spoke for Jabba, delivering the
lines in English for the actors. We
always worked Jabba as a unified
being, an actor, which meant we
were continuously practicing our
coordination. Apart from tea
breaks and lunch, we stayed
inside all day (from 8:30am to
6:00pm).
ic farquand: Asa
director, you are talking to Jabba
himself. You’re telling him what
to do. In the early stages, when
you are casting the people who
will later play the characters,
you are thinking of them as
manipulators. At that point, you
are interested in their shape or
personality and temperament—
whether they can stand being in
costume for any length of time.
But once they are on set and they
are in costume, they are that
character—I definitely deal
with Jabba on set.
athony Daniels: I absolutely
loved Jabba! I'd seen him grow
up from a maquette in the
Creature Shop, to a wire
frame, to a great glob of clay,
106 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
transformed into this jolly green
slug. I thought he was great fun
on the outside! Inside was a gang
of performers who made me
laugh all the time. Mike Edmonds
starred as the tail, thrashing about.
Jabba’s right hand, Dave [Barclay]
and I had wireless communication
so we could hear each other’s
lines. We used it mainly to gossip
and discuss Carrie Fisher’s
near-costume! Then there was
the gang on the outside, remotely
controlling Jabba’s eyes in an
effect that I’'d never seen before,
focusing and narrowing, just
like the eyes of a real Hutt. The
other delight of working with
Jabba was that he didn’t wander
off the set or have a bad hair
day or a bad makeup moment.
So lots of time hanging around
in the gold suit was saved there!
STAR WARS: RETURN OF THE JEDI
Wy
EPISODE VI
7 / The droids join
Jabba as they go in
front of the cameras.
8 / Salacious B.
Crumb poses
with Carrie Fisher.
9 / Bib Fortuna
welcomes another
bounty hunter to
Jabba’‘s palace.
> Tim Rose (Salacious B. Crumb, Sy
Snootles): The cantina scene in the
first film had always made a big
impression on people, and we
wanted to make our scene as good
as that one. There was a good
week’s worth of lead-time on the
scene, and all the characters that
we had built in Phil Tippett’s shop
at Industrial Light & Magic
needed to get unpacked and
assigned to performers to rehearse
with. I already knew several of the
performers, because we had
worked together on The Dark
Crystal (1982 ) for Jim Henson. I
was happy with the way Salacious
Crumb was coming along, but Sy
Snootles was a different matter.
I had designed her as a “reverse-
string marionette,” which was a
term I made up. Instead of being
controlled by strings from above,
as a classic marionette would be,
she floated in the air and was
pulled down to the ground by
wires and rods to the bottoms
of her feet. She was very hard to
control, and I could only get a
good take about once every twelve
attempts. When it came time to
shoot, they only gave me two
takes to get it right, neither of
which was one of my good ones.
I think that’s probably why she
got replaced by CGI so early on.
The dark, steamy set proved
difficult to shoot on and led to
some mishaps along the way.
Toby Philpott: All we could see
was a grainy “security camera”
shot of Jabba on tiny monitors
hanging on our chests, which
made filming hard. Dave told me
he had to put his hand (Jabba’s
right hand) on Leia’s shoulder, but
heard Carrie say (quite calmly)
“That’s not my shoulder...”
I had to menace Leia with the
tongue—my right hand was inside
the tongue. We did a couple of
takes. Then I heard Mr. Marquand
in my headset, asking me to try to
reach the tongue farther out, and
really try to lick her. On the next
take I did just that, but heard a
ras
stifled gasp, and some laughter,
and “CUT!” Only much later was
I told I had stuck that horrible,
gloop-covered tongue right in
Carrie Fisher’s ear!
Carrie Fisher: I was not actually
a damsel in distress, I was a
distressing damsel!
Tim Rose: Salacious spent a lot
of time sitting near Jabba’s tail.
Mike Edmonds was inside the
body of Jabba and was controlling
his tail with a cable-control
mechanism. When he would get
bored between takes, he would
start swinging the tail back and
forth shouting, “Batter up!” and
try to knock Salacious off my
arm, which he managed to do
on more than one occasion!
108 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
Anthony Daniels: My bad
moment, apart from smelling like
a BBQ every evening, was the
great fall. Jabba was unhappy with
Threepio not being helpful enough
(as if!) and swiped him with his
mighty fist! This meant that I had
to fall down. It’s easy enough to
do by accident in the desert, or
in Padmé’s apartment, but
deliberately? In that costume?
To the ground? Not so much.
As an unnamed crewmember
was about to leave the set, they
asked him to hold the other side of
a padded board on which I would
fall, just clearing frame. “Action!”
Jabba gave me a smack (sort of)
and I spun and fell. “Cut!” Good.
Now there was blood. I checked.
Not mine. But that unnamed
crewmember had taken a blow
STAR WARS: RETURN OF THE JEDI
from Threepio’s elbow and was
henceforth known as “Scarchin!”
Then, of course, I could tell the
dreadful truth about Jabba’s slime,
but that’s another story!
I liked Bib. He was stupid in an
endearing way—quite innocent
yet quite scary. The makeup had
a feminine look. The makeup
dictates your performance. The
first time I put it on, it took eight
and a half hours. Eventually, Nick
Dudman, the makeup artist, got it
down to fifty-nine minutes. Once
the headpiece was on, it was on all
day. One day, I had a terrible itch
and after six hours, I was ready to
give my children away! Nick split
it open down the middle and I
scratched. From then on, he made
the headpiece able to open up in
the middle.
It was tremendous fun. All
the creatures would come by my
dressing room. You’d walk in, and
there’d be four or five creatures
having a coffee!
We worked
on the choreography for two
weeks, but they didn’t tell me
what I would be wearing. All of
a sudden, I have to wear this
headpiece. It then became a matter
of getting used to it and making it
your friend. Jabba the Hutt was
pretty disgusting, although the
EPISODE VI Wy
men operating him on the inside
were really lovely!
It was quite tricky to dance,
since the leash was around five
meters long, and the fact that the
puppeteers couldn’t see me that
well, resulted in me being nearly
strangled a couple of times! I was
fortunate enough to have Mark
Hamill come over to introduce
himself, and every day he would
see if I was okay. And Salacious
Crumb was an real irritant,
irrespective of Tim Rose being
the puppeteer!
When I sat at the front
of Jabba’s throne watching some
poor soul being fed to the rancor,
my body was inside the slab of the
throne with my arm up through a
hole operating Salacious. I could
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 109
Wb
10 / The arrival of
Boushh and the mighty
Chewbacca is captured
by the cameras.
11 / Sir Alec Guinness
and Mark Hamill film
a crucial expository
scene. The shimmering
Force spirit effect seen
around Guinness will
be added later by the
visual effects team.
EPISODE VI
STAR WARS: RETURN OF THE JEDI
® only get in though the back of the
throne, and that was only when
the throne had been pulled back
over the stage pit. When it was
forward, the exit was blocked.
One day, when they called lunch,
everybody took off for the canteen
and no one remembered to pull
the throne back, so I missed lunch
that day!
The scenes also marked the return
of fan-favorite bounty hunter, Boba
Fett, as played by Jeremy Bulloch.
Jeremy Bulloch (Boba Fett): I was
literally on the set for about eight
days. I always used to get there
early, which I have done my
whole career, and I’d come out
with the helmet in my hand and
stand next to Jabba the Hutt,
which was like a heap because
it wasn’t alive. There was Mike
Edmonds inside Jabba, moving
the tail, and I used to say to
Mike, “Get us a cup of tea, will
you? I can’t move up here.” And
he used to say, “Get it yourself!”
“Mike, you can’t see how
uncomfortable I am up here.”
So we'd have this wonderful
conversation and every morning
Mike would be there ready with
a cup of tea! I couldn’t stand
around too long—I had to lean
against a board for comfort.
There were a lot of guys
dressed up as aliens, and the set
was so good because it was damp;
you felt the greasy, oily, nastiness
of Jabba all around the place. It
was slimy and it had absolutely
the right atmosphere. If anybody
came in, I would think, Is he a
suitable prey? and I would move
forward very gently. I’d think,
How could Boba Fett do
something in this scene to look
cool? You use the time to be as
deadly, but as subtle as possible,
and with a little bit of fun within
it because Boba Fett must never
stand out of that circle—he’s got
to be in charge. He commands
without even saying anything.
Richard Marquand’s directions
were subtle, you just listened to
10 /
what he was saying. He knew
where the angles were, how one
tilt of the head could get that bit
of light glinting off the helmet.
Tim Rose: Richard Marquand
used to talk to the Salacious Crumb
puppet all the time. When you are
doing a good job with a puppet,
people treat the puppet as if he is
the actor. He found it really funny
that this silly little rubber monster
could comment on camera angles
and things like that.
Many performers took multiple
roles, often in the same scenes.
Simon Williamson (Max Rebo,
Gamorrean Guard): To have
characters and objects to which
you can physically relate and
touch is so much easier than
bluescreen. In one sequence, I was
a Gamorrean guard looking down
on myself as another Gamorrean
guard, falling through the floor
and being attacked by the rancor.
Then, across the room, there I am
as Max Rebo!
My work on The Dark Crystal
(1982) prepared me for Max
Rebo. Although Max is bulky, you
needed to be agile and fit to get
inside the costume, and then have
110 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
Nef
STAR WARS: RETURN OF THE JEDI ©
EPISODE VI
the stamina to cope with the heat.
Picture the scene—a Gamorrean
guard with a cooling fan wedged
between my propped-open jaws
and a hairdryer thrust down the
front of my trousers! It’s a lot
of fun playing large, lumbering,
stupid characters with mucus
dribbling out of their noses.
I used to get rid of my aggression
by doing karate, but as a
Gamorrean guard, I rarely had
to attack anyone, I just threatened
to dribble all over them!
A return to the Dagobah set gave
Luke Skywalker the chance to
say goodbye to Yoda, and Mark
Hamill the chance to say goodbye
to Alec Guinness, at least on the
Star Wars set.
Mark Hamill: I was so lucky to
work with someone I admired for
so long. He was so gracious with
his time. He stayed in contact,
corresponding with beautiful
calligraphy in old-fashioned ink.
I would see him in London, and
we'd go out to dinner. He was
one of the greatest actors ever.
The Rebel Alliance, introduced a
new leader and, for the first time,
some new alien allies.
Caroline Blakiston (Mon
Mothma): Mon Mothma is calm,
and she looks in charge. I wasn’t
calm when I did my scene. I was
nervous because I was given all
these new lines to learn and I like
lines to be inside me for a long
time so that I can really re-invent
them when I’m speaking, as if I
had just thought of them. I timed
how long I was on screen. It was
twenty-seven and a half seconds!
I can remember telling Carrie
Fisher, “You’re all over my
daughter’s pyjamas!”
Tim Rose (Admiral Ackbar):
Admiral Ackbar was sitting on
a stand in the corner of the studio
and I said to Phil Tippett [make-up
and creature design], “Who is
that? Can I play him?” and begged »
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 111
te STAR WARS: RETURN OF THE JEDI
PISODE VI
>
to play this background character,
thinking he was going to be in the
third row of Jabba’s palace or
something. To be honest, I think
he ended up commanding the
troops—not so much down to
my performance but because of
his look! He was originally meant
to be a background character. He
ended up filling the role because
he had the magic. There was a
character next to him with three
eyes who could have been chosen.
Ackbar had cables for the eyes, but
he was a hand puppet. The mouth
was performed remotely when I
was walking around in the full
body suit. For the close ups, I was
the chest of it and operating the
head like a puppet.
Nien Nunb spoke Haya, an
African dialect from Kenya. We
got Kipsang Rotich, a student
from Kenya to speak that. We used
a lot of Haya phrases, which were
recognized when the film played
there! Fortunately, he was saying
things that were comprehensible
to the story.
Richard Marquand
was a very considered director.
He wasn’t one of those directors
who yelled or anything like that.
He would quietly talk you
through what was happening.
I got on with the job at hand
and interpreted it in my own
way by adding things in, like
tilting my head from side to side.
Kenny Baker, who is best
known as Artoo-Detoo, and I
had a scene together. Kenny (as
an Ewok called Paploo) would
always jiggle around quite a lot
and looked like he was in a hurry.
Richard noticed that I’d started
112 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
to take on those little traits.
He said, “Go and be your own
character. You don’t have to copy
Kenny. Keep doing it in your own
style, because that’s what we
love.” Wicket’s a lot more chilled
out than Paploo.
It’s a trap you can fall into as
an actor. If someone is doing an
accent, you can end up doing
the accent as well, if you’re not
careful. Richard steered me
back on course and we carried
on from there.
Someone noticed a huge branch
that was sticking across another
branch. The trees were 250 feet
high. If that branch had been
blown down, it would have
come down like a spear. So, they
brought in two sharpshooters,
but the bullets just splintered
through the wood. So, we had
to move the entire set. They just
couldn’t risk the branch falling
and killing someone.
STAR WARS: RETURN OF THE JEDI
Warwick Davis: Kenny Baker
was playing Wicket and I was cast
as a background Ewok, but Kenny
fell ill on the day of an important
scene. George Lucas noticed I was
doing interesting things with the
character and my costume was
cuter than some of the others. And
I was the only one who could
poke my tongue out of the
costume. I ended up filming a
scene with Princess Leia and the
rest is history!
Ben Burtt: For the Ewoks, we
used a lot of Kalmuck, a nomadic
tribesman dialect. When you use a
real language, there is an
intelligence behind it and a reality
and detail that is hard to invent.
Kenny Baker: Playing Paploo
was not fun at all! If I fell over,
I couldn’t get up again. I couldn’t
get in or out of the costume
without a dresser. If I fell, I had
to wait for someone to rescue me.
I had pajamas on then a foam
rubber suit and then a fur skin.
On top of that there was the belt,
armor, headdress, and gloves
and feet. The Ewoks were great
characters but I don’t think I could
play one again.
13 /
14 /
ily
EPISODE VI
Warwick Davis: They used to
call me the “Ever-Ready Ewok”
because I was so young and could
keep going in the heat! Every time
a shot ended, it was “Heads off
Our eyes kept misting up.
”
Anthony Daniels: I was asked to
come in on Monday, prepared
to mime the story of A New Hope,
The Empire Strikes Back, and up
to that point, Return of the Jedi.
I went home, pushed the sitting
room furniture aside and started
working on ideas. But rehearsing
on the set with Harrison Ford
staring sardonically at you while
you’re saying, “Teekolo carbonite”
and “Gooboo Sarlacc” can be a
little bit embarrassing!
Warwick Davis: I remember it
being very cold; it was a very cold
winter when we were shooting in
the U.K. We would come out of
the soundstage at Elstree. There
were two soundstages next to
each other; one with the Ewok
village set and the other with the
Millennium Falcon. When you
walked between the stages, there
was a sheltered area. You’d not
get rained on, but the ends were
open to the elements, so the wind
would blow down. We’d walk
down in the Ewok suits, steaming,
and a lovely cold draught would
blow down this alleyway and keep
us cool.
On the set, there were some
log cabins where we’d sit and
relax while waiting for the next
set-up. Back in those days, they’d
use incense to give a haze to the
atmosphere and the smell was
quite overwhelming. If I smell
incense now, I can be transported
right back to the Ewok village.
Working in those conditions
was pretty oppressive. It was hot
for the crew, let alone the Ewoks!
Then you’ve got the smoke and
the lights, and you’re working
twenty feet off the ground! It was
a difficult environment to be in
and there wasn’t much room with
all the equipment and crew. It was
quite a challenge to shoot. »
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 113
hy
16 / Harris
STAR WARS: RETURN OF THE JEDI
EPISODE VI
on Ford
and Mark Hamill take
a break on the Ewok
village set.
17 / Richard Marquand
directs lan
McDiarmid
and Mark Hamill as Luke
is tempted by
the dark si
de.
18 / Carrie Fisher and
Mark Ham
ill have a
laugh on set.
>» Anthony Daniels: Nothing for
Threepio is easy and that’s a good
comic setup. He’s funny because
he has no sense of humor. The
nearest he gets is when he says,
“I’m rather embarrassed, General
Solo, but it appears you are to be
the main course at a banquet in
my honor.” This is said with a
certain amount of irony, but
Threepio is not a stand-up comic.
Peter Mayhew (Chewbacca):
Star Wars was all made on sets,
Empire was often cold and wet
and miserable, but Return of the
Jedi was on terra firma. It was the
nicest of the lot. It has some nice
comedy, particularly in the Ewok
battle scene.
Anthony Daniels: I loved the bit
where Han keeps tapping C-3PO
on the shoulder and giving him
things to do until Threepio just
turns and gives Han this look that
says, “You insufferable jerk.” I was
pretty proud of Threepio for that.
The movie also revealed the
surprise revelation that Luke and
Leia were in fact siblings.
Carrie Fisher: I was very surprised.
We had different colored eyes! But
it meant I got to date Han Solo!
The central story of Luke’s
confrontation with Darth Vader
reached a climax in the third act
of the film, and also brought the
sinister Emperor into sharp focus.
Richard Marquand: Darth Vader
is popular, not just because his is a
baddie—although they are usually
the most interesting characters—
but because of other fascinating
things about him. One is that he
has a kind of subtle sense of
humor, which makes him more
attractive than some of the other
bad guys. In Return of the Jedi,
he is only really outflanked by
the real bad guy who has an even
better sense of humor, as well as
being more evil. Vader has a wry,
mean way of looking at life
because he is a wry, mean man.
Ultimately, you don’t really know
who he is. He provokes the same
curiosity as the Mona Lisa: why
is she smiling? You keep coming
back to Darth Vader: who is
in there?
Mark Hamill: It’s very hard for
the Royal Shakespearian actors
playing Imperial guards to act
with a barely audible Dave
Prowse. He has great presence,
but he couldn’t be heard in the
mask. That’s what we are up
against. Anytime you work with
creatures or in any scenes where
there is smoke or when the actors
voice is not going to be used in the
mix, you are bound to have some
trouble. It’s the most unnatural
form of acting.
116 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
Ian McDiarmid (The Emperor):
I came into Return of the Jedi fairly
late in the day. Mary Selway, the
casting director, had seen me play
many years older than my years
in a play called Seduced. She
recommended me to George and
Richard, we had a brief meeting,
and before I knew it, I was playing
the part! They gave me the tape of
the Emperor’s appearance in The
Empire Strikes Back and asked me
to match Clive Revill’s vocal style.
I reckon that’s what I would have
wanted to use anyway. As things
went on, I saw the makeup and saw
myself in the mirror and got to
know the him a bit better and the
voice just came. It’s much lower
than my own and sharper. I knew it
had to be deep and animal-like. But
a sophisticated animal. As he gets
STAR WARS: RETURN OF THE JEDI
older, when he becomes a bitter and
desiccated man, I thought he was
like a toad.
George Lucas gave very little,
really. I read the books and worked
things out, but I think it’s quite
good that I knew as little as I did.
I was left with the best tools, which
are just the lines, the other actors,
and the situation. He’s a mysterious,
dark character, and I wouldn’t want
to do anything to dispel the mystery
or lighten the darkness.
Learning swordplay
is like learning choreography
when you do a musical. It’s [fight
arranger] Peter Diamond’s job to
make me look good. In Jedi, we
were much more interested in the
personal conflicts involved than lots
of flashy swordplay.
All the readings
of the Emperor’s lines were my
own. I’d discuss it with Richard
Marquand and we would suggest
things to each other. The lines are
very fun and simple. They don’t
really have any subtext. If you wield
that kind of power, you don’t have
to bother with subtext. You just say
and enact what you feel. I enjoyed
those scenes because I was
working with a very fine actor,
Mark Hamill. Mark and I were
able to laugh between takes—
although when I laughed, it
hurt because of the makeup!
The
temptations facing Luke are so
enormous that you could not see
how George was going to solve
them and save him. George came
EPISODE VI W
up with the most Emperor-like
double-cross, which was just
incredible and took our breath
away. With each character,
it’s the same thing, constant
confrontations, with the twists
and turns of fate.
The Emperor’s
strength is that he is not fearful,
which is of course also young
Skywalker’s great strength and
ultimately Darth Vader’s too.
It’s understanding both sides of
fear—how it’s important not to
be fearful in order to not stop
yourself from doing things you
believe and know to be right.
At the same time, it’s on the dark
side—terror is what he specializes
in. It’s what motivates him and
governs his every action—his
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 117
understanding of the nature of
terror. He believes that everybody
can be terrorized or seduced by
one thing or another. He’s only
proven wrong at the end of
the movie. He doesn’t succeed
because the father refuses to
let him succeed.
The philosophy
of avoiding confrontation by
letting things go and waiting for
exactly the right moment to act
can be seen in Obi-Wan’s actions
in Mos Eisley. He tries to avoid
trouble. He carries that attitude
until the last moment when, if he
hadn’t acted, Luke would be dead.
i: The only
emotion that manifests truly
is the one seen just before he
meets his end—if he does meet
his end—and then it’s pure anger
when he realizes that he hasn’t
succeeded in manipulating Luke
Skywalker. He tries to kill him
with unadulterated fury. George
118 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
directed the final sequence when
the Emperor is sent down the
chute. I won’t say killed, because
we don’t know that, do we...?
|: One day, I
happened to see Sebastian Shaw
in the corridor at the studio.
I knew him quite well, so I said,
“Sebastian, what are you doing
here?” He said, “I don’t quite
know dear boy, but I think it
has got something to do with
science fiction.”
I was given
total carte blanche by George
Lucas and the producers in hiring
the people that matter to the
STAR WARS: THE SKYWALKER SAGA:
EPISODE VI W
director—other actors, cameramen,
crew. I was free to choose people
whose strengths I knew. We were
a team. In the business of making
movies, there are no loners.
Everyone is working together.
There is no one Michelangelo.
The effort involves a lot of people
mixing paint, preparing the
brushes, building the scaffolding,
preparing the ceiling, and even
doing some sketches around the
sides. That’s probably how the
Sistine Chapel got painted and it’s
certainly how movies are made.
I was once
chased through a tube station.
They were saying, “You’ve got to
stop, you’re the Emperor! You’ve
got to stop!” And I managed to
run faster than them. They only
wanted my autograph. I thought,
This is ridiculous—why don’t I
just stop and give them my
autograph? But it had gone too
far by then.
I asked
George Lucas if I could keep
an Ewok head. He looked at
me for about ten seconds and
said, “Okay.”
I enjoyed working
on Jedi. I used to play harmonica
and dance with the band at the
hotel in Yuma, Arizona. Carrie
Fisher would dance with us!
|: A lot of
people who have tried to do
the Star Wars thing have not
succeeded because they have
missed the point. It cannot be
campy or put on in any way. It
has absolutely got to have that
sense of truth.
The personal
parallels are great. Luke is swept
up in the adventures of Star Wars
just like I was in my career. After
Return of the Jedi, the question I
got asked most often was, “When
is the next Star Wars?” I wish
I had a nickel for every time
somebody asked me that.
THE OFFICIAL MOVIE COMPANION | 119
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STAR WARS: RETURN OF THE JEDI
by
EPISODE VI
STAR WARS: RETURN OF THE JEDI
ESSENTIAL
TRIVIA
The film features small roles for
Robert Watts (as Lt. Blanaid),
Richard Marqaund (as Major.
Newland), Ben Burtt (as Dyer)
and, in one of her earliest screen
roles, award-winning actress Kathy
Baker (as a rebel technician).
The word “Ewok” is never said in
the film and neither are any of the
individual Ewok’s names, though
they do appear in the end credits.
The lyrics to the Ewok yub nub
song (later replaced for the Special
Edition) were written by composer
John Williams’ son, Joseph Williams.
Joseph is better known as the lead
singer of the band Toto.
The only cast member to shoot
new scenes for the 1997 Special
Edition was Femi Taylor, who
reprised her role of Oola, Jabba’s
ill-fated dancing girl.
When Princess Leia disguises herself
as the bounty hunter Boushh, her
voice is provided by Pat Welsh who
also voiced E.T.
The film marked the debut of
Luke’s green lightsaber. A deleted
scene showing him building the
weapon was included on the
Blu-ray release of the film.
In order to preserve secrecy, the
film was shot under the title “Blue
Harvest” with baseball hats and
T-shirts created in order to divert
prying eyes.
George Lucas initially wanted
Steven Spielberg to direct Return
of the Jedi.
The Emperor is never named in
the film as being Palpatine or
Darth Sidious.
Return of the Jedi marks the first
time the TIE fighters are mentioned
by name.
Return of the Jedi is the only film
in the original trilogy in which
Darth Vader does not Force choke
another character. A scene in
which Vader Force chokes Moff
Jerjerrod was filmed but ultimately
not used.
Peter Mayhew had to be escorted
around by crewmembers in the
Redwood Forest as there was
concern that he would be mistaken
for Bigfoot!
Harrison Ford had wanted Han
Solo to be killed off but the
character was kept alive, until
The Force Awakens.
Five actors brought Darth Vader/
Anakin Skywalker to life. David
Prowse and stuntman Bob
Anderson wore the suit, James
Earl Jones provided the voice,
and Sebastian Shaw and Hayden
Christensen played Anakin once
the helmet was removed.
The shots of Darth Vader’s
funeral pyre were filmed long
after principal photography had
been completed.
Sebastian Shaw as the Force spirit
of Anakin Skywalker was replaced
by Hayden Christensen for the
2004 DVD release and on all
subsequent editions of the film.
Carrie Fisher made sure Warwick
Davis had milk and cookies
between takes.
Ben Kingsley auditioned for the
role of the Emperor.
Alan Rickman auditioned for the
role of Moff Jerjerrod.
The first scene to be filmed was
a sandstorm that the heroes
navigate as they leave Tatooine.
When Richard Marquand called
“Action!” R2-D2 crashed into a
rock, the camera team couldn’t
hear over the wind machines,
and the sand obscured almost
everything from view.
Actor Dermot Crowley as General
Crix Madine had to wear a false
beard as the action figure of the
character had already been
designed as having a beard.
Salacious B. Crumb got his name
from two sources: Phil Tippett
mangled the word “shoelaces“ as
“soolacious.” The second part of
his name came from the cartoonist
Robert Crumb.
The cast and crew shared a love of
Salacious B. Crumb. “One day, I
came in and there was Salacious,
and I fell in love with Salacious”
said George Lucas. “Salacious is my
favorite character. That little
character kept me amused during
the endless wait between takes,”
said Anthony Daniels. Stuart
Zigg, the chief articulation engineer
telexed a message from London
to Industrial Light & Magic:
“Salacious is stealing the show.”
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 121
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THE FORCE AWAKENS
tb
STAR WARS: THE FORCE AWAKENS
>
PISODE VII
Every person who
came to the project was a huge
Star Wars fan. So, that’s anybody
who grew up with Star Wars, like
J.J. Abrams and many of the
contemporaries that he worked
with on the film. Anybody who
was post-high school, college age,
like me, were still bringing a sense
of nostalgia. Then, there were
younger people. Some of the
people that I was working with
on this film never saw the original
Star Wars in the theater. So, it
was a cross-generational group
of people bringing all those
sensibilities to the making of this
movie. It made you feel like you’re
in this with so many people who
genuinely cared about it, that it’s
all going to be okay.
The fans were sitting out there
wondering what we’re going to
do with it, and everybody inside
the process is a fan. So, you’ve
extended out to this community
that is becoming a part of making
the movie. So, even though there
was no guarantee, and there was
stress and expectation, it was
something we genuinely felt that
we were in together.
It was nice to be involved in
a movie that everyone cares so
much about. It’s not just that they
care because they’re fans, but Star
Wars has had something to do
with their life. It’s something
they’ve drawn from. It’s the reason
they got into the movie business.
That means that their passion will
show up on the screen.
I have no idea
what I did. I just tried very hard and
I hoped very much. There wasn’t
much advice offered—there was a
conversation with Harrison Ford
about anonymity, but really it was
just people leading by example. It
was amazing to see people who are
so established and with a huge
career being kind and generous
to everyone on set.
I didn’t remember it as well as
I thought I did. There are things
I remember about the cockpit and
126 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
STAR WARS: THE FORCE AWAKENS ©
EPISODE VII
the funny stuff we went through.
On the original cockpit, I asked
George Lucas to let us get into
it, so we could try it on for size.
Finally, we did get a chance,
Chewbacca [Peter Mayhew] and
I, to walk into the cockpit. Of
course, he couldn’t get into the
seat! Flying it developed a little bit
between iterations of the first three
films, but it started to come back
to me. It was fun.
One person’s idea of perfect is not
everybody’s. But, when I saw it, I
thought, Yeah, this is back. This is
what it looked like when we shot
the original films.
The Millennium Falcon is as much
a returning character in the film
as the people. There’s a very weird
feeling going back to something you
know so well. It’s like saying, “I’m
going to open this magic door and,
behind this magic door is your
bedroom at nine years old.” You can
walk into that bedroom and you
can feel it, and smell it, and open
drawers in your desk, and find the
things you had. What would be in
that desk? What would be under
your bed? That feeling of, it’s
yours, and you know it. So, when
you go back to it, it has to look
like what you remember.
So, we made sure we almost
forensically recreated the Falcon.
We had the most incredible crew.
Our art director, Mark Harris, who
worked on The Empire Strikes Back,
was like a scientist figuring out how
the Falcon changed from A New
Hope to Empire. The size of the
cockpit expanded, and the scale of
the ship got bigger in the second
film. We realized that with the stuff
you thought was canon, big changes
were being made. You can’t adhere
to what you think it was, and do
what they did. If something needs
adjusting, do it. But, aesthetically, it
can’t look or sound different than
the ship you know. An incredible
number of hours were put into it,
and making it as we know it.
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 127
J.J. was great to work
with because he talks a lot. And it’s
really good stuff that he says, so that
was exciting to hear. He remembers
everyone’s name and he’s got a lot
of energy. He was really excited to
direct the film, because he was young
when I was a teenager and so he
was sort of a fan! It was infectious
excitement and real focus, because
he has high verbal acuity. And he
really loved making the movie.
Except with me!
© STAR WARS: THE FORCE AWAKENS
EPISODE VII
The
idea of doing [this film] was a scary
thing. Even though J.J. mapped out
what that character does, he left out
a lot of things for us to discover. He
wanted to get my input, which was
a huge thing also in a movie of this
scale. Suddenly, you have a director
who wants you to be involved in
making it, and given the history of
these movies, that’s very exciting.
I was a fan of the Star Wars movies
when I was younger, so suddenly to
128 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
work on it in my adult life and have
input seems unbelievable.
The costume was so
brilliantly designed by Michael
Kaplan, who I’ve admired since
I saw his work on Blade Runner
(1982) when I was twelve years
old. I was really astounded by
how extraordinary Phasma’s
armor looked and how practical
it was to wear. I love the fact
that the costume hadn’t been
feminized or sexualized in any
way. It’s practical armor. What
I got from the costume was
that this was a woman who was
imposing, uncompromising, and
high-functioning. That informs the
way that I moved, and the way that
I walked. It all goes to communicate
something about the character.
Abu Dhabi is
a beautiful place. We were there to
shoot the first part of the movie.
I’m in this nice hotel and I get in my
car and as we’re driving, I’m looking
all around at the structure of Abu
Dhabi. It looks amazing. We ended
up in the desert where the TIE
fighter scene was being shot.
When I walked on to the set, I saw
this huge, life-size TIE fighter, black
and red, crushed in the sand. Balls of
fire everywhere. Debris. TIE fighter
skid marks going 200 yards. And,
of course, Finn has to be in a
stormtrooper outfit. I had to wear
it in this heat for the next couple of
days. Let’s just say I relied on a
combination of sweat, passion,
fandom, ice cubes, eye drops, and
a lot of water. I was drenched in
sweat by the time I got out of the
stormtrooper outfit. But, most days,
it got easier based on passion and
fandom alone. I was trying to be
professional but every time J.J.
Abrams would come up to me with
a note, I’d be like, “It’s a TIE
fighter!” I was literally star-struck
seeing a TIE fighter next to me. It
made the scenes easier, though the
conditions were very hot.
It’s a real textured world and
environment. We actually have two
full-sized X-wings standing there
that you can run up to and the
cockpit will open! You can jump
inside and fire them up. Everyone
that’s involved feels like it’s real and
like it’s there. It infuses the film with
something that’s unquantifiable. It’s
unlike anything I’ve done before.
What I like about it, too,
is that it’s also a bit of a period
piece because it goes back to the
technology that they were using in
the original films. There is a slightly
1980s vibe that they’re able to elicit
with a lot of the designs and using
actual everyday objects as well
132 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
mixed into the set. That’s just so
great because, again, it’s a reminder
that it is part of a legacy anda
culture. You’re creating culture.
That’s something that Max von
Sydow [Lor San Tekka | had said
when we were sitting there talking a
little bit. He said these movies create
culture; they create a whole lineage
and ancestry with all these little bits
and pieces that they use. It infuses
everything with meaning.
On
any film set, but particularly with
this one, there is an extraordinary
feeling of collaboration. You have
so many different departments,
whether it’s props, makeup,
costume, wardrobe, green screen,
set dressers, electricians, lighting,
camera, sound, or acting. J.J. has
created a collaborative experience.
I think everybody feels the ability
to walk up and say, “Can we try
that?” Obviously, you can’t waste
the director’s entire day, but he’s
created an atmosphere where
everybody can offer something.
Performance capture
is the art and craft of an actor
embodying a role that will be
manifested on screen as a
computer-generated character.
But the authorship of the role, all
the acting, takes place with other
actors. Instead of putting on a
costume and makeup beforehand,
yow’re playing the role without the
help of those things, but neither
the hindrance. All of the facial
expressions, all your acting
decisions, and the authorship
of the role happen on set with the
other actors. A clever team of
animators and CG artists then
have the job of transposing that
performance onto a digital avatar
without losing the nuance and
subtlety and underlying
performance of what the actor
has given. That’s how motion
capture works. What’s amazing
is that it enables anyone to play
anything. Philosophically, it’s
the greatest acting tool of the
21st century. It doesn’t matter
what size you are. Stereotyping,
or typecasting, is dead. It doesn’t
matter what the color of your skin
or your height or your sex is. It’s
a brilliantly liberating tool that
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 135
actors are finally seeing,
and the more it’s used as a
standard industry tool, it’s
really proliferated.
The costume designer,
Michael Kaplan did an
amazing job with the costumes.
It absolutely feels like Star
Wars. You look around and you
immediately know what universe
you’re in. You wouldn’t have to
just look at the set because if
you look at the costumes, you’d
immediately recognize the world.
But, it’s also slightly different
than what they did before. Hux
has to carry an aura of power
and a preoccupation of being
in charge of things. The clothes
correct your posture. So, it’s been
© STAR WARS: THE FORCE AWAKENS
EPISODE VII
brilliant and hilarious to put on
those clothes every morning.
A typical day for me on set
involves coming into makeup—
actually for the dots! There are
149 dots put on my face every
morning. We got it down to
between forty-five minutes to
an hour, depending on how
cooperative the glue is being. I
suit up, and then I have markers.
My suit is gray with triangles
everywhere, then I have markers
that make it look like a road sign
is velcroed onto the suit. Then,
a headcam is put on my head
with four cameras that shine a
ring of LED lights onto my face
to capture every movement my
face makes. Then, we begin...
The first time I came onto
set in that suit, it was the most
alienating thing in the world.
Because there are lights shining
on my face, everyone is drawn to
look at me. I was fighting nerves,
butterflies in my stomach, and
feeling very self-conscious! I was still
trying to figure out how to be this
completely different person in this
suit and to have an understanding of
my physicality and the space around
me. It was bizarre.
I used one
word from the beginning, it
must “delight.” When you have
John Williams writing the music,
you’re part of the way there.
When you have this group of
craftspeople creating the images,
you’re part of the way there.
When [director of photography]
Dan Mindel shoots a movie,
you’re going to be delighted
and when J.J. directs a movie,
you'll be delighted, and we will
have succeeded.
138
STAR WARS: THE FORCE AWAKENS ©
EPISODE VII
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 139
THE FORCE AWAKENS.
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STAR WARS: THE FORCE AWAKENS
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EPISODE VII
STAR WARS: THE FORCE AWAKENS
ESSENTIAL
TRIVIA
Director J.J. Abrams chose the
name BB-8 because he looked
round and bouncy. He said, “I
named him BB-8 because it was
almost onomatopoeia... It was
sort of how he looked to me, with
the eight, obviously, and then the
two Bs.”
According to the The Force
Awakens Visual Dictionary,
Captain Phasma’s armor is coated
in salvaged chromium from a
Naboo yacht once owned by
Emperor Palpatine.
Finn, whose trooper designation is
FN-2187, is a reference created by
director J.J. Abrams to Princess
Leia’s cell number, 2187, aboard the
Death Star in A New Hope. It was
originally a reference George Lucas
was making to the 1963 short
film 21-87.
Rey’s goggles are cobbled together
using a pair of lenses from a
stormtrooper’s helmet.
When Poe Dameron first wakes up,
bound to an interrogation table on
the Finalizer, the sound of an
IT-000 droid can be heard—it’s just
behind Kylo Ren in the scene. An
earlier model of this droid, the IT-O
Interrogation Unit, was used by
Darth Vader in an effort to force
Princess Leia to reveal the location
of the rebel base.
Carrie Fisher’s daughter, Billie
Lourd, plays Lieutenant Connix,
who appears in the Resistance
base on D’Qar. She would also
appear in The Last Jedi and The
Rise of Skywalker.
The hologram dejarik set seen on
the Millennium Falcon was
animated by Tippett Studios,
which is owned and supervised
by the same special effects
mastermind who worked on
the original sequence in A New
Hope, Phil Tippett.
The flags at Maz Kanata’s castle
are imprinted with familiar images
from the Star Wars films and
cartoons, including the skull from
Boba Fett’s left-shoulder blast
plate, Hondo Ohnaka’s gang
symbol, Ziro the Hutt’s belly
tattoo from The Clone Wars, and
Cikatro Vizago’s Broken Horn
Syndicate symbol from Rebels.
There is even a flag displaying the
universal symbol for the 501st, an
organization of fans who do
charitable work in costume,
mainly as stormtroopers.
Composer and actor Lin-Manuel
Miranda, most recently of
Hamilton: An American Musical
fame, wrote the tracks “Jabba
Flow” and “Dobra Doompa,”
which were performed at Maz
Kanata’s castle.
In addition to his role as
translator, C-3PO is in charge
of a pool of droids across the
galaxy, including GA-97, who
reports BB-8’s presence at Maz
Kanata’s castle.
James Bond actor Daniel Craig
makes a cameo appearance in
The Force Awakens. He plays
a stormtrooper who falls victim
to Rey’s Jedi Mind Trick on
Starkiller Base.
Kylo Ren’s interrogation of Poe
Dameron on Jakku was one of the
first scenes to be shot. J.J. Abrams
went back and added some humor
to the scene in reshoots, with Poe
saying “I can’t understand you
with that mask on.”
The beginning of Rey’s Force
vision brings her to a hallway in
The Empire Strikes Back that led
to the catwalk where Darth Vader
faced his son.
During Rey’s Force vision, or
“Forceback,” at Maz’s castle,
many voices and sounds are heard,
including Darth Vader’s breathing
and Yoda explaining the nature of
the Force. The sound designers
took the word “afraid” and altered
it to sound like “Rey.” They then
combined that with a new
voice-over from actor Ewan
McGregor to complete the line,
“Rey... these are your first steps.”
Actress Harriet Walter plays
Doctor Kalonia, the physician who
treated Chewie’s wounds after the
engagement at Takodanaa. In
addition to The Force Awakens,
Walter has appeared as Lady
Shackleton on Downtown Abbey.
She is also the niece of Christopher
Lee, who played Count Dooku in
Attack of the Clones and Revenge
of the Sith.
In the first version of his initial
scene with Snoke, Kylo Ren was
not wearing his mask. J.J. Abrams
had the scene digitally altered in
post-production to put the mask
on him so that Adam Driver’s face
could be revealed later the movie.
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EPISODE VIII
Rian Johnson is
a cinephile. He really knows film
and he has a great eye. He carries
a camera with him everywhere
and takes pictures of everything.
The film was mostly cast before
he took the picture. But he’s so
relatable and comfortable that I
think the cast really responded to
him. The good thing about Rian is,
not only did he direct the picture,
he wrote it. He’s a true auteur.
Some of my earliest memories
of creative play, of telling my
own stories, were with Star Wars
toys and in that universe, but
there was much more fear and
trepidation at the weight of
actually working on a real Star
Wars film. If I had let myself
zoom back and look at the
enormity of the task, and the
responsibility of it, I would
have just been paralyzed and
spent the last few years curled
up in the fetal position.
I asked the questions: What do
I think the characters want? Where
can I see them going? And what
would be the hardest thing for
each of them to come up against?
And once I got to a place where I
had something for each one of
them that made sense, I started
drawing it out into a story. It’s
kind of like eating an elephant.
You just do it one bite at a time.
Rian writes
amazingly fierce and independent
women, and has a great sense of
humor, which is so vital to the
character of Star Wars. He
observes human behavior really
well. He’s got a very good heart
and a real soul to what he does.
A filmmaker’s particular style
and vision is what shapes these
stories, and that shines through
in Rian’s film.
For Rian, it is always about the
characters. He was able to come
up with a story that was powerful
and emotional and goes in an
unexpected way. The story is what
is true for the characters; it takes
them on a journey that feels real.
One of the first
things that Kathleen Kennedy told
me when she asked me if I’d be
interested in doing this was that
the lead character was a girl
named Rey. I was instantly into
that; it just felt right. Leia was the
first female figure that girls and
women could look up to, and
seeing how much it meant to
them, Carrie Fisher was very
conscious of that and held that
with her. She felt a responsibility
to make Leia great. I was really
interested in the strong and
powerful and weak and conflicted
and good and bad female
characters—portrayed by an
amazing array of actors. There
are a lot of kick-ass women in
this movie.
Rian and I had
worked on a few drafts before
we submitted a version we were
happy with to Kathleen Kennedy.
Rian thought it was a small movie,
and I didn’t necessarily think it
was that big a movie. Kathleen
called me to say how much she
loved the script and that this is a
giant movie! She said, “How are
you going to do this?”
When we really started diving
into it, we realized the scope was
really big. Fortunately, Rian was
able to deliver the script a year in
advance, so we had a lot of time
to figure out what we needed to
make the film. It wasn’t that hard.
If you have someone like Rian
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i ay se .e
ae
PISODE VIII
We had a
taxidermy form of a fox and
created a clay sculpture that we
added straw to, in order to see
how you’d replace hair. Then, we
tried to find a balance between
something that was solid and
heavy but also soft and appealing.
Rian kept pushing us toward
making them sparkle, with a more
crystal-like appearance. I saw the
vulptices as a predominantly
female species.
I won’t give them away, but there
are a couple of really fun inside
jokes about how we’ve disguised
some old music that Rian wanted
to place here and there. I’Il leave
the viewers to discover it—or
ignore it as they wish—but we
had a playful time with it as well.
First and foremost,
Carrie was a writer, and that’s
how we first really connected. We
had a lot of really nice moments
on set, but the times I remember
her best were when we were
hanging out at her house before
the shoot. She was digging out
books for me that she wanted to
talk about. She was writing The
Princess Diarist when we were
filming, and she showed me all
the diaries from 1976. I feel really
lucky to have had a little bit of
time to know her.
Carrie had a
meaningful role in the film even
before her untimely death, but now
there is so much more weight to
some very emotional scenes. She
challenged Rian every day, but they
had a great partnership. Everyone
was so proud of her performance.
Carrie was
really cool about coming up to
people, and not making it a thing
to have to approach her and say
“Hi, I’m in the film, can I say
hello?” The magic of film is that
you live forever. For people who
knew Carrie, she’ll live forever to
them anyway. She was so kind,
and as irreverent as anybody I’ve
ever met in my life. Nobody knew
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what was going to happen with
Carrie. I love that Rian wrote her
a beautiful film.
Even though this is
the second episode in this series, it’s
its own thing without just leading
onto the next one, which is great.
If you look at Rian’s
movies, each is different than the
STAR WARS:
THE LAST JEDI
last. You can’t pigeonhole him
and say, “That’s the kind of film
he makes.” The Last Jedi is so
different in many ways, subtle ways,
than the other Star Wars movies,
and yet it is satisfying in delivering
what the fans want to see as well.
Rian Johnson: I had the time of
my life making this movie. In many
ways it felt the closest ’ve ever
gotten to a professional equivalent
of that freewheeling play, being a
kid and running around the room
with action figures.
Alan Horn: There’s an
accumulated affection and
expectation with the fans as we go
forward. George Lucas started it,
and J.J. Abrams did a wonderful
job of carrying it on. I’m thrilled
with the work of Rian Johnson.
His vision will last forever.
Carrie Fisher: For me, it’s about
family. That’s what is so powerful
about it. I go to Comic-Con and
meet a lot of these people and it’s
very powerful for them. They’re
showing the films to their children
and their grandchildren. They’re
sharing something that moved them
as a child. That’s personal. I’ve
watched a lot of that over the years,
like people coming in with babies
EPISODE VIII
that have the Princess Leia outfit on.
That’s the thing that makes it so
powerful for a lot of people. It’s an
identifying universe and something
that creates a community. Anything
that does that can heal people. You
can have that thing in common
and find others. I don’t know that
it saves lives, but I do know it
improves them. ©
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STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 157
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EPISODE VIII
ESSENTIAL
TRIVIA
Luke Skywalker uses Sheev
Palpatine’s Sith name, Darth
Sidious, for the first time.
The Canto Bight sequence includes
a long tracking shot that was
inspired by a similar shot from
the 1927 film, Wings.
Finn and Rose are accused of
violating parking regulation 27B/6.
This was also the name of a form
that appears in Terry Gilliam’s
1985 film, Brazil.
The Last Jedi features a large
number of cameo appearences,
including: Joseph Gordon-Levitt,
Justin Theroux, Gareth Edwards,
Joe Cornish, Michaela Coel, Lily
Cole, and Adrian Edmondson.
Royal princes William and
Harry had non-speaking roles
as stormtroopers, but their scenes
were cut.
Not just a Jedi Master, Mark
Hamill also voices the part of
Dobbu Scay, the character who
mistakes BB-8 for a slot machine.
The main Resistance cruiser is
named the Raddus after the Mon
Calamari Admiral who appeared
in Rogue One: A Star Wars Story.
Rian Johnson included a reference
to the first Star Wars fan film,
Hardware Wars (1978), with
a scene involving an iron.
Every Star Wars film includes a
character saying, “I’ve got a bad
feeling about this.” In The Last
Jedi, BB-8 says the line in his own
droid language.
The hyperspace tracking
technology that the First Order use
to chase down the Resistance is
first alluded to in Rogue One: A
Star Wars Story.
Mark Hamill’s three children,
Nathan, Griffin, and Chelsea
appear as Resistance fighters
on Crait.
On Ahch-To, the door to Luke’s
hut is a reclaimed wing from his
X-wing starfighter.
The film is dedicated to the
memory of Carrie Fisher who
passed away on December
27, 2016.
The production name for The Last
Jedi was “Space Bear.”
Damage incurred from the blaster
fire on Jabba’s sail barge are still
visible on Luke’s mechanical hand.
You can see Vice Admiral Holdo
say “pew” when she fires her stun
blast at C’ai Threnalli.
The porg species is not
named onscreen.
Rian Johnson has claimed that
The Last Jedi took influence
from Twelve O’clock High
(1949), Letter Never Sent (1960),
The Bridge on the River Kwai
(1957), and Three Outlaw
Samurai (1964).
The Last Jedi was the first Star
Wars movie not to feature Peter
Mayhew as Chewbacca, with
Joonas Suotamo taking over.
Issue #49 of the original run of Star
Wars comics produced by Marvel
in 1981 was called The Last Jedi.
The shot of Finn waking up was
originally planned to be the first
shot of the film following the
opening crawl.
The novelization of The Last Jedi
features a dream sequence in which
Luke imagines he is married to
Camie and still living on Tatooine.
The phrase “The Last Jedi”
appears in the opening crawl
of The Force Awakens, marking
the only occasion the title of a
different Star Wars film appears
in the opening crawl.
The Last Jedi is the first film since
the original release of The Phantom
Menace to feature a puppet version
of Yoda.
The three dissolve cuts in the scene
when Kylo is considering shooting
Leia’s ship was a callback to the
three dissolve cuts between Luke
Skywalker and Darth Vader in
The Empire Strikes Back.
Rey and Poe Dameron don’t
actually meet until the very end
of the film.
The Last Jedi is the first time since
Return of the Jedi that we seen a
Force spirit. It is also the first time
that Yoda’s Force spirit speaks.
The Last Jedi is the only Star Wars
film in which a character says the
name of the film. In this case, it’s
Luke who says the title.
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 159
THE RISE OF SKYWALKER
ee
STAR WARS: THE RISE OF SKYWALKER
It’s amazing to think
that back in 1977, George Lucas
created something that would still
resonate with people today. And
so, to think we created the story
that basically brings the saga to
a conclusion, there was a huge
responsibility associated with that.
As a filmmaker, I needed to bring
the movie to a conclusion that it
and the fans deserved. The Rise
of Skywalker is not just the end
of three movies, but rather the
end of nine movies. There was
certainly a lot to consider. Chris
Terrio—who wrote the script
with me—and I never wanted to
forget what makes Star Wars
potent and resonant and alive.
The excitement and the passion
Chris has for this story and this
world was a constant reminder
to me. Chris brought so much
to the project; amazement and
pure childlike enthusiasm.
I couldn’t be more grateful or
more comforted by the company
I was in while making this movie.
While
filming The Force Awakens,
I was very tense and nervous.
But because I worked with J.J.
on that movie, our relationship
was a bit different this time
around. I didn’t feel as tense and
nervous; I felt very comfortable.
It was
great, especially since J.J. and
I already had the experience of
working on The Force Awakens
together and got to know one
another then. For The Rise of
Skywalker, we had a meeting
early on where we decided that
any idea, anything that we came
up with would be discussed,
whether it was good or bad. We
didn’t want to hold anything back.
Initially,
I didn’t connect the script to the
Skywalker saga at the moment
I was reading it. For me, it was just
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the end of our five-year journey, our
little contribution to this big story.
It felt weird knowing we were going
to bring it to a conclusion.
It has
been such a wild, wild journey. I
think back five years ago when I
got the call to meet J.J., Kathleen
\\ : STAR WARS: THE RISE OF SKYWALKER
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Sw EPISODE Ix
Kennedy, and Lawrence Kasdan
where they pitched me the story
about this great character, Poe.
He went from dying spectacularly
in The Force Awakens to surviving
and becoming a leader of a
resistance. I just begged for my
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i \ \ 1 | realize everything has led to
this moment. It feels nice to be
John Boyega: Thinking back
’ one of the main characters in
this story. I mean, wow! It’s
been a blessing and an honor.
Michelle Rejwan (Producer):
It’s not just the finale of one film,
but rather the finale of a trilogy
and the culmination of nine films.
There were a lot of storylines
coming together and we hoped
audiences would find it emotionally
satisfying, surprising, thrilling,
scary, and unexpected.
© STAR WARS: THE RISE OF SKYWALKER
EPISODE IX
At the conclusion
of The Last Jedi, the Resistance
was at a really low point, having
been handily defeated by the First
Order. At the start of The Rise of
Skywalker, their numbers have
been greatly reduced and there
isn’t much hope. What hope the
Resistance does have is put into
the hands of Rey, Poe, and Finn.
And these three have to find a
solution to resolve the conflict.
At this point, the
Resistance has been decimated,
and there’s only a small group
left. Some time has passed since
the events of The Last Jedi, which
enables the group to get some
help, gather a few allies, and
recruit some new Resistance
fighters. However, despite this,
they are still scrambling to find
even more help somewhere in the
galaxy. Poe and Finn have been
on some rather insane missions,
desperately trying to find a way
to fight back against the First
Order. Meanwhile, Rey is with the
others continuing her training.
I never expected to be back. I
thought if they did a third trilogy,
it would be set ten, fifty, or even
one hundred years in the future,
so it was completely unexpected.
I enjoyed it in a way I never could
have in my twenties.
When we
made The Force Awakens, we had
a huge weight on our shoulders
to essentially reignite the franchise
and reintroduce Star Wars to a
new generation. And now, to have
had everybody coming back and
working together, J.J. and a lot
of the crew, it was like the family
coming back together. We didn’t
have to go through that initial
stage of getting to know people
and figuring out how everyone
would work together. We felt
pretty comfortable with each
other. It was really nice to make
this movie with that kind
of feeling.
J.J2s
brain works really fast, it’s like a
computer, and he never forgets
anything. I think this movie has
required so much creativity, not to
mention mind and heart, that J.J.
has been preparing for his whole
life, and I feel it shows. He always
came onto the set with authority
and with a clarity about what he
wanted, but also with a good
sense of humor. It was so inspiring
to see J.J. not only working with
the actors, but the whole team.
Everyone from the scenic painters
to the camera department and
props department and down the
line. We all wanted to give J.J. our
very best effort, all the time.
I just wanted
the audience to be happy and
fulfilled with the film. J.J. and
Chris Terrio did an amazing job
crafting the story and tying in all
nine episodes. J.J. really wanted to
make a great film, and everyone
involved with the production was
just stellar at their jobs. I found it
to be really moving. At the end
of the day, if you took away the
space element, the Star Wars of it
all, it’s about people and how they
make their way in life, confronting
and dealing with the difficulties
they experience.
There were times
J.J. would do one long scene in
one take. Sometimes it would be
quite complicated, with multiple
people in the scene, and he would
choreograph the whole thing.
And what’s wonderful about that
as an actor, is that it’s up to you
to dictate the rhythm. When
you shoot a scene all in one take,
the actors get to really have
some fun, which enables a bit of
improvisation. Although J.J. had
this incredible task of bringing
closure to a saga more than forty
years in the making, he still had
a looseness about him and a
curiosity to try different things.
He just had this unrelenting
vision about what he wanted
to accomplish, not to mention
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incredible energy and drive. That
was really exhilarating.
J.J. was
so open to hearing about ideas
and allowed everyone to get
involved. And considering how
much he had on his shoulders,
he was always super calm, he
had a great sense of humor, and
he really made everyone feel at
ease. I had never seen anything
like it. He was just incredible.
First of all, I was so happy J.J.
agreed to come back to direct this
movie. Working with him on The
Force Awakens allowed me to
observe and learn from him, which
was one of the highlights for me.
For this film, I felt like it was
another opportunity to learn
by
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EPISODE IX
more from him, to push myself
to better portray this character.
I also felt this time around he
gained a new understanding about
how to approach Chewbacca.
He was able to more effectively
communicate what it was I was
supposed to do. Very early on,
we found a common beat, which
was tremendous.
J.J. has this ability to get the best
out of the actors he directs, so it
was really awesome to work with
him. It was a fun environment.
I came to Star Wars
as a fan, first and foremost. Return
of the Jedi was the first film I ever
saw, and I made my father drop
me off to see it every weekend
for, I think, about six months.
When it came to this project,
I had extremely high expectations
—it meant the world to me—and
I didn’t take the responsibility
lightly. There wasn’t a day
where J.J., Michelle Rejwan,
and I weren’t in constant
communication because we all
knew we needed to get it right.
Every waking moment was
devoted to this movie while we
were making it.
Working with
Chris Terrio has been absolutely
the greatest fun I’ve had on a film.
[Laughs] He is so unbelievably
passionate, smart, and dedicated,
and works so incredibly hard. He’s
just relentless at wanting things to
be absolutely right, I mean down
to a word. I just love his tenacity,
and his passion, and his big heart.
There were days we
arrived on set and we were utterly
shocked by what everyone had
been able to do. As it went along,
it was a series of continual
wonders and astonishments. A
small conversation between J.J.,
Michelle, Kathy [Kennedy] and
myself was suddenly realized on a
grand scale. It was all accomplished
with the help of many people from
the creature department, the
costume and production designers,
and of course by the visual effects
team. It’s an amazing world they
created. It’s the conclusion of the
Skywalker saga, and it needed to
be emotional and exciting and
gratifying, as well as surprising
and inevitable.
Throughout the process, J.J.,
Michelle, Kathy and I got to a
certain point where we could finish
each other’s sentences. We were
constantly challenging each other all
the time to make things better. It
was incredibly collaborative. There
were times J.J. would push me not
to go with my first idea, but to keep
166 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
going to try and find a better idea.
And it’s not just production, we
were all so collaborative with the
various departments—art, creature,
and costume. It’s a hard thing to
say, but you can’t really put
into words when you see or feel
something that is Star Wars. You
just know it’s right, whether in
regards to design and story or
the emotions of the characters.
Working on the
previous movies was exhausting.
This time, I wanted to be sure I had
enough stamina; I wanted to be
healthy and, most importantly,
ready. I even started kickboxing.
When it came time to do all the
required stunts, I felt I was ready
for the challenge. Mentally, I had
to prepare to do some rather
terrifying things, and I had to
completely trust the stunt team
I was working with. I was doing
things I never thought I would
be doing, such as being strapped
into a harness connected to wires
and diving off a thirty-foot-tall
platform. But because I trusted
the team around me, I felt I could
do anything they asked me to.
First of
all, I give George huge credit
for creating Princess Leia, who
is certainly one of the greatest
female heroes in cinema. He also
did that in Indiana Jones with
Marion. I think introducing Rey
STAR WARS: THE RISE OF SKYWALKER
to a whole generation of young
girls has been fantastic. It has
been fascinating to watch Daisy
get into a role like Rey at
nineteen or twenty years old and
then to watch her mature in the
role into her mid-twenties. When
she first began, nobody knew who
she was, she was just getting
started in the business. Even the
idea of getting strong physically
and being able to handle the stunts
and the lightsaber fights was
all new to her. And now, she’s
emerged as a powerful figure in
these stories. I think there’s an
interesting parallel to Daisy and
Rey’s development that really
comes through in the movie.
During these three
movies, Daisy has been given
EPISODE IX ee
latitude to express herself
through Rey, and with The Rise
of Skywalker, she was able to
expand upon her character. Daisy
has great instinct as an actor,
which is something I noticed
during the audition process for
The Force Awakens.
It’s really been great
to see Daisy’s growth and to see
Rey’s character evolve. When
we first met Rey in The Force
Awakens she had incredible raw
potential. She already had so
much power within her, but had
yet to discover it. For The Last
Jedi, it was really about Rey
understanding who she was, and
desperately searching for answers.
And now in The Rise of Skywalker,
we get to see the culmination of all
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EPISODE IX
of Rey’s pain, confusion, and power
channeled into this ferocious,
incredible character. Daisy’s
performance is just astounding.
Making his final appearance as
Luke Skywalker, Mark Hamill
made a brief but significant
contribution to the story.
Mark Hamill: Star Wars is such
a positive film. It is so optimistic,
so inspiring. It encourages you to do
the right thing, because it’s the right
thing to not think of yourself, but
rather to do what’s right for the
greater good.
Hamill, a fan of fantastical cinema,
still has a passion for acting in
movies over forty years after the
original Star Wars film.
Mark Hamill: I was one of those
kids who read the Famous Monsters
magazines, which I loved. I loved
the Universal horror films and the
Hammer films. Fantasy in general.
King Kong (1933), the black-and-
white movie directed by Willis
O’Brien, was my favorite. If you told
nine-year-old me I would be making
movies, I wouldn’t have believed
you. I’m so lucky to love what I do
and to still be able to keep doing it.
The film presents a turning point
for Kylo Ren as he chooses between
the dark side and the light.
Adam Driver: To step back a
moment, when J.J. and I first met,
he told me to imagine a journey for
Kylo that was opposite of Darth
Vader. Whereas Vader is very
confident when the audience first
meets him, over the course of three
movies, he is chipped away at until
he’s at his most vulnerable. Kylo’s
journey is almost the complete
opposite. He starts out very
vulnerable, very child-like, and
then over time, he gains experience
and becomes hardened and more
assured about the choices he makes.
The journey Kylo went through
really opened up my imagination
as an actor.
10 /
Kathleen Kennedy: From a
character standpoint, the
relationship between Rey and
Kylo Ren really drives the story
in this particular saga, and I think
it’s hugely emotional. It was
interesting to watch Daisy and
Adam delve into exactly what
their characters’ relationship
meant to the two of them.
After surviving against the odds,
Poe Dameron, played by Oscar
Isaac, returned to lead the effort
against the First Order.
Oscar Isaac: In The Rise of
Skywalker, J.J. really wanted the
audience to get to know Poe.
Not only that, but to see what he
would be like when he’s working
with a group, and not just by
himself. It was just so energizing
and so much fun for me as an
actor because there was a lot of
room for improvisation.
Daisy Ridley: It was really fun.
In a lot of ways because I hadn’t
properly worked with Oscar
before. Previously, we had only
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hey
STAR WARS: THE RISE OF SKYWALKER ©
EPISODE IX
shot two tiny scenes together. In
The Rise of Skywalker, one of our
first scenes shows us arguing. J.J.
told us our relationship had grown
‘off-screen, since there was a
year or so in between the events
of The Last Jedi and this movie.
So, there’s a chemistry fostered
“in between” the movies. And then
John [Boyega] is just amazing.
Oscar Isaac: Poe finds himself
inheriting a Resistance that is
on the brink of collapse. He feels
completely lost, and he even
begins to wonder if there’s really
anything to lead at this point.
But Poe is reminded about family
and friends and not being alone.
And he rallies behind those ideas
and pushes the others to continue
to move forward.
In his role as the former
stormtrooper FN-2187, otherwise
known as Finn, John Boyega has
been at the forefront of the action.
The Rise of Skywalker saw the
character finding his place as a
part of the team.
John Boyega: I definitely wanted
Finn to eventually find his place,
to be part of a team he’s not only
fighting for but rooting for as well.
I wanted Finn to become strong
and not have his strength always
questioned. I wanted to show his
growth and to show he has an
understanding of his world and
the people around him, as well as
his past.
Oscar Isaac: In as much as these
movies are about the Skywalker
saga, for me, doing these movies
has also been the saga of me
meeting John Boyega and to
experience this adventure with
him. He has such a beautiful heart
and is such a beautiful person.
I definitely admire him. My first
screen test back on The Force
Awakens was with John, in the
TIE fighter. And we’ve been
back-to-back ever since. The
exciting thing about The Rise
of Skywalker is John and I get a >
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 169
STAR WARS: THE RISE OF SKYWALKER
hy
» chance to really work together,
EPISODE IX
to interact with one another and
have fun. And the reason it was
so fun to work on this movie is that
he and I got do so much together. I
just love him.
J.J. put the trio together, and
I think it definitely helped capture
some of the spirit from the original
trilogy. There’s a dynamic between
the three main characters that’s
really great.
The Rise of Skywalker also features
the return of a promoted Rose Tico.
Kelly Marie Tran: The Resistance
is always taking a beating from
the First Order. Everything is
pretty dire. In The Last Jedi, Rose
was so full of hope. So from that
standpoint, I don’t feel she’s the
same person. But her role has also
changed in this movie. She went
from being this mechanic to
working her way up in the
Resistance to having more of
a leadership position.
The actress was pleased to be
reunited with John Boyega.
Kelly Marie Tran: John Boyega
is one of my favorite people, so it
was great to work with him again.
He’s someone who I really look
up to, especially in terms of seeing
how he took everything in his stride.
And it was really cool to work with
the cast and crew who were on the
last movie too—I felt like I was
coming home. The entire experience
was really special.
The Rise of Skywalker saw the cast
clad in some bold new costumes,
courtesy of costume designer
Michael Kaplan.
John Boyega: Michael did a great
job. This time around, Finn has his
own thing going, you know? A new
style. He basically went to the
Resistance beauty camp. He’s now
color-coordinating: blue and brown
pants, brown waistcoat. He has new
hair. I mean, in the stress of war,
why not look good fighting?
12/
Daisy Ridley: For the most part, the
costumes have been very similar:
they’re all meant to be utilitarian,
using earthy colors. For The Force
Awakens, it took a long time to
establish the look, but that wasn’t
the case this time around. For this
movie, my costume is pretty much
white, which was great because we
were filming in the sun. It just looks
gorgeous. As for the hair, the team
went for something that looked
slightly different than before, but
still retained the same silhouette.
My makeup pretty much stayed
the same—all natural.
Keri Russell (Zorii Bliss):
My costume is the coolest one
I’ve ever worn! It has this helmet
that I really loved wearing,
because there was such a power
12 / The heroes face
danger under the sands
of Pasaana.
to wearing it. There’s something
in being hidden that innately gives
you this other kind of strength.
13 / Finn mans the
Millennium Falcon's
guns as the First Order
closes in.
It’s very unnerving to people
when they can’t see you, but you
can see them. And because you
can’t see my eyes, you don’t know
what I’m thinking. J.J. wanted
14 / Rose Tico and Rey
plan their next move.
170 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
Zorii to be alluring, to keep the
audience wondering about who
she is. I really loved that. Also,
she’s a badass, and I really liked
that as well.
A new droid joined the cast for
this film, the timid D-O.
Oscar Isaac: BB-8 finds himself
as the surrogate father to this
little droid, D-O. This is another
nod by J.J. and Chris to capture
some of that spirit from the
original trilogy. D-O’s just so
goshdarn cute and a really fun
addition to the Star Wars galaxy.
The movie also featured the
return of an old favorite, Billy
Dee Williams, back in the cape as
Lando Calrissian.
Billy Dee Williams (Lando
Calrissian): I had no reservations
whatsoever [about coming back].
At times, I wondered if Lando
would return. So I was very
happy about being asked to
come back.
STAR WARS: THE RISE OF SKYWALKER
Billy Dee, who’s such
a suave man, brought so much joy
to the set. It’s great he came back for
this movie. There was a particular
scene where the rest of us were so
exhausted, yet he just kept going!
He didn’t need any rest or anything.
And his overall vibe was just great.
He was showing me pictures of his
granddaughter one day and told me
I reminded him of her. I thought that
was really sweet.
coh \
2
\
~
~
~
—_
When I wore
the cape for the first time, I made
it very much a part of Lando’s
persona. I mean, Lando has style.
There’s no doubt about it.
That was cool. It
was good to see Lando back, and
it was good to work with Billy. We
all knew when he was going to be
on set the first time. I even dressed
up in a specific way, coordinating
tly
EPISODE IX
to go with his style, just in case he
wanted to take a picture. He’s the
most suave man in the galaxy,
with his yellow shirt and cape.
I mean, he has a cape—and he
doesn’t even fly! I want a cape!
I don’t take
myself too seriously. I mean, I do
take my work seriously, but I don’t
take myself seriously. Vulnerability
is very much a part of who I am.
Being on set and
acting with Billy Dee Williams
was great. Lando Calrissian is,
hands down, one of the coolest
characters in the whole world.
I found working
with Naomi and Keri really lovely.
Naomi did a scene with Billy Dee,
and my dad was in the same scene
as a pilot. I went onset to watch
them film it and he’s literally right
behind them—classic! And then
Keri was just really awesome.
Her character is really cool—
she’s such a badass.
I had met
Billy a few times before this
movie. He’s just such a friendly,
honorable man. It was great to
have him sit beside me in the
Millennium Falcon and act
alongside him. He gave me lots
of good advice. ’ll be grateful
forever to him.
J.J. Abrams
is sO imaginative, and so much
fun to work with. Making The
Rise of Skywalker has been one
of the high points of my career.
A lot of it pretty
much evolved while we were
working on it. The battle was
really physically exhausting, but
at the same time very exciting.
We were wet and soaked and
cold and on wires. I loved it.
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 171
Wh
STAR WARS: THE RISE OF SKYWALKER
EPISODE IX
Physically, the
lightsaber fight with Adam
Driver on the wreckage of the
Death Star was tough. What
made it more challenging than
the other lightsaber fights was
that we were being doused with
water cannons the whole time.
And since it was November in
England, it was very cold as well.
We were fighting
on a really slippery, uneven bridge
with huge cannons shooting
water at us. We were absolutely
exhausted at the end of it.
As far as just being
the most challenging scene, it had
to have been working atop the
speeders while filming in Jordan.
The vehicle we were riding on was
tilted a certain way, which really
made my knees hurt by the end of
the day. And because we had wind
machines constantly going, a piece
of sand scratched my eye, causing it
to become puffy and irritated. It’s
weird because technically we didn’t
really look like we were doing
anything. It took many hours
working on a moving vehicle,
which made it tough.
She kind of lives in
the gray area between right and
wrong. She’s done some rather
sketchy things in her lifetime and
she has a tough exterior—she’s
very much a survivor.
Keri had such a
presence on set. She’s small and
slender, but she has so much
power as a performer. And her
voice is incredible.
172 | STAR WARS: THE SKYWALKER SAGA; THE OFFICIAL MOVIE COMPANION
Ss
>
I have three kids.
And even though I’ve been an actor
for a long time, there is nothing
else I have ever done where my son
thought it was cool. He said,
“Wow!” And what I love about these
movie is the metaphor of “believing
in yourself.” It’s a good message.
Jannah is the
leader of a group of vagabonds
who live on a junk world. They
are all just surviving the best way
they know how while trying to
avoid being discovered by the
First Order. And even though
she’s a strong, capable leader,
she also has a vulnerability about
STAR WARS: THE RISE OF SKYWALKER
her, an insecurity. But at the end
of the day, she is fighting for a cause,
a greater good, that drives her,
which ultimately overrides her
vulnerabilities and insecurities.
ckie: Jannah has a
trusty steed called an orbak—it’s a
four-legged creature and very furry.
To prepare for the role meant
months of training on horseback,
which I’ve now become very adept
at. I can ride using one hand, no
hands, and shoot a bow and arrow
while doing it! When I started the
journey, I was terrified of horses
as I had never seen one up close.
I’m from East London and there
aren’t any horses around there. I
was just really taken by how large,
powerful, and beautiful horses are!
And yeah—I’m now an equestrian!
I feel very at home on a horse after
this experience, and it’s a new skill
I have that I most definitely did
not have before.
Jannah has the
coolest bow and arrow I have ever
seen. It’s not only awesome, but
deadly. It’s a two-handed weapon
that she can swing from one side to
the other. She’s a very resourceful
person, by the way. She actually
made her own arrows out of old
material and whatever else she could
find in her environment.
EPISODE IX ee)
Ic To me, Chewie
has always resembled the epitome
of loyalty and friendship. When
it comes down to it, he is a very
stable, trustworthy companion. He
continually proves himself through
his courageous actions. He’s always
there doing the right thing.
are »: The first day
was a cruel wake-up call. The sun
was scorching, and I was holding
onto an umbrella to shield myself.
It got better as my body became
climatized. It really helped
that I was wearing a cool
shirt underneath my suit that
circulated cold water around
my torso.
During filming, the crew
was always concerned with
whether I was getting too hot
or too uncomfortable. Depending
on how much time we had in
between takes, it was usually just
easier to stay in the suit. It came
down to mind over matter.
My son saw
me in the suit for the first time.
He wasn’t afraid. He heard my
voice underneath the mask, and
I lifted him up for everyone to
see. I even have a picture of the
two of us together. To have my
son there on set was one of the
greatest moments of my life.
What J.J. and
Chris did for this movie was a
monumental task. They found
a way to encompass the Skywalker
saga in a meaningful way to
make it feel both surprising and
inevitable. When I first read the
wee
174 | STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION
script, I was pretty emotional
because there was a finality to it,
and it’s hard to image Star Wars
could ever have that. One of the
most amazing things about the Star
Wars galaxy, which is what George
Lucas did from the very get-go, was
to make it feel like there were events
happening outside of the movies.
Every prop and every character
had its own history, and the movies
just showed us a glimpse of those
things. He allowed people to open
up their imaginations and wonder
what happened before. I think
the mystery of it all also helped to
create the phenomenon Star Wars is
today. And so to take all that, to
capture that spirit, and bring
it to a conclusion was such an
amazing task. I think J.J. and Chris
did an incredible job. To
go from A New Hope and get
to where we are with The Rise
of Skywalker is astounding.
Star Wars has been
such a major part of my life these
last few years. And it wasn’t until
I got a role in Star Wars that my life
changed, rapidly, at an amazing
speed, and it’s been great. And for
me, what has stood out the most,
what is the most heartwarming, is
the collaboration I’ve shared with all
the amazing individuals who have
‘a
been a part of creating these
movies. I’ve made friends and
become part of a big family, and
that’s a major thing to let go of.
As for Finn, I feel good about
him. He went from being part of
something oppressive to being
thought of as a hero.
I was surprised by
the passion of the fans and how
it never waivers. Throughout the
years, I have attended things like
Celebration, D23, and comic-cons,
and I have seen how much Star
Wars means to people, and how
parents have passed along that
passion to their kids. I am also
surprised that I am a real part of the
lineage and history of these films.
And it’s not just these movies: there
is a long, beautiful history during
these last forty-plus years. It’s
more than a movie, it’s a cultural
phenomenon. To have been part of
telling the story, and not only
telling the story, but to be part of
its conclusion, has been completely
fulfilling and so profound.
It’s a very worthy
ending. J.J. and co-writer Chris
Terrio are so knowledgeable
about Star Wars, and they are
both huge fans as well. Everyone
felt good about what we were
doing, and we all had a genuine
feeling of joy about what we
accomplished. I think that carried
over onto the screen.
Wherever I go,
people are so warm and so friendly.
It’s quite amazing. Of course, not
only do they watch the films
repeatedly, but they read the
novels and the comic books, and
they play the videogames and the
role-playing games—all of it. I
understand it’s not for everybody,
but the people who do like it,
absolutely love it with a passion
that is just indescribable.
It was great to see C-3PO have real
purpose, to be very involved and
part of a team. On my final day of
shooting, it was very moving, a very
bittersweet moment. Making these
movies has been hard work, but it
has also been fun and a great joy for
me. I have been in Star Wars since
day one out in Tunisia in 1976, so it
has been quite something to have
survived this long. It really has been
quite a ride.
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 175
THE RISE OF SKYWALKER
WARS
DECEMBER 20.
STAR WARS: THE RISE OF SKYWALKER
Wy
EPISODE IX
STAR WARS: THE RISE OF SKYWALKER
ESSENTIAL
TRIVIA
The opening crawl begins with the
line, “The dead speak!” An
exclamation point has only
appeared in one other opening
crawl: Revenge of the Sith.
Creative rounding by Finn states
that Chewbacca is 250 years old.
A new Force ability features in the
film. Rey uses the Force to heal a
sand serpent and, later, Kylo Ren.
The Child has similar abilities in
The Mandalorian.
The revived Palpatine tells Kylo
Ren: “The dark side of the Force
is a pathway to many abilities
some consider to be unnatural.”
This is word for word what he
tells Anakin Skywalker in
Revenge of the Sith.
The film features a brief cameo
from Denis Lawson as Wedge
Antilles. The character last
appeared in Return of the Jedi
thirty-six years ago. The Rise of
Skywalker is the first time his full
name has appeared in the credits.
The Rise of Skywalker contains
cameo appearences from Dhani
Harrison, Nigel Godrich, and
JD Dillard as stormtroopers.
Karl Urban, who was directed
by J.J. Abrams in two Star Trek
films, plays the stormtrooper who
says, “Knights of Ren” as the
warriors walk past.
Ed Sheeran and Lin-Manuel
Miranda play members of the
Resistance, though Sheeran is
largely unrecognizable due to
a slip-on mask.
Daisy Ridley’s dad, Christopher,
appears as a member of the
Resistance during the final
celebration scenes.
Star Wars composer John
Williams makes his debut in
front of the camera as Oma Tres
—an anagram of “maestro”—a
bartender on Kijimi. Kevin Smith
can also be found walking the
streets of the snowy planet.
Mark Hamill lends his vocal talents
to play Boolio, the horned alien
who drops the hint about a mole
in the First Order.
Sir Alec Guinness’s grandaughter,
Sally Guinness, plays a First Order
officer on the Supreme Council.
A Clone Wars-era battle droid can
be seen in Babu Frik’s workshop.
J.J. Abrams is one of only two
people to direct more than one
Star Wars film, the other being
George Lucas!
The working title for The Rise of
Skywalker was “TrIXie.”
J.J. Abrams provided the voice for
the droid D-O, while writer Chris
Terrio voiced Aftab Ackbar, the
son of Admiral Ackbar.
Maz Kanata was brought to life
with an animatronic model, unlike
in the previous films where she
was created using CGI.
The sequel trilogy was the first
time a Star Wars trilogy of films
saw release in the same decade.
The brief flashback showing
Luke and Leia training was filmed
using Carrie Fisher’s daughter,
Billie Lourd, as a stand-in for
her mother.
Warwick Davis reprises his role as
Wicket at the end of the movie. He
is joined on screen by his real life
son, Harrison.
Rey’s mother is played by Killing Eve
(2018 — present) star, Jodie Comer.
The Jedi voices at the climax of the
film are: Mark Hamill as Luke
Skywalker (A New Hope, The
Empire Strikes Back, Return of the
Jedi, The Force Awakens, The Last
Jedi), Hayden Christensen as
Anakin Skywalker (Attack of the
Clones, Revenge of the Sith, Return
of the Jedi), Olivia D’Abo as
Luminara Unduli (The Clone
Wars), Ashley Eckstein as Ahsoka
Tano (The Clone Wars, Rebels),
Jennifer Hale as Aayla Secura (The
Clone Wars), Samuel L. Jackson as
Mace Windu (The Phantom
Menace, Attack of the Clones,
Revenge of the Sith), Ewan
McGregor (The Phantom Menace,
Attack of the Clones, Revenge of
the Sith) and Alec Guinness (A New
Hope, The Empire Strikes Back,
Return of the Jedi) as Obi-Wan
Kenobi, Frank Oz as Yoda (The
Phantom Menace, Attack of the
Clones, Revenge of the Sith, The
Empire Strikes Back, Return of the
Jedi, The Last Jedi), Angelique
Perrin as Adi Gallia (The Clone
Wars), Freddie Prinze Jr. as Kanan
Jarrus (Rebels), and Liam Neeson
as Qui-Gon Jinn (The Phantom
Menace, The Clone Wars).
STAR WARS: THE SKYWALKER SAGA: THE OFFICIAL MOVIE COMPANION | 177
THE 40TH ANNIVERSARY SPECIAL EOrTION
STAR. WARS
EPISODE V. THE EMPIRE STRIKES BACK
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4 NOT USED ( + 50 VDC "B” SIDE (N.O))
- y YEL-VIO (+50 VDC "A" SIDE (N.C.))
COIL SwS-
“ S»2 [
* J*w (
“ jwl I
CN-«|
^OOf^pin^^rs* —
S > Z Z Z 2 z
i O SSSS8
5 => o *> s 6 e I
g Iff *?Il 2
RIGHT L#l >i CBtOS. PLFD. RIGHT FLIPPER
LEFT ‘-tjfrJ OHN GAY PLFO, LEFT FLIPPER
SPEC COIL DRIVE J ' 4 » H; ■ LU - 2 ® i
" " " I
KtT 4 |H NC
- ■ ■ 4 WULSL ■ M - WFItLD
- • * , >^ V| JULJBS.
■ - - *
■ ■ ■ .
5 \ 5 23 S =>
CD O ffi > m IT Z
T
{ , L , X} >u
II IsliJ III
A u „ A\
.i_ii-i-iliU44-W4-
x~r rirrr i-r r ati-i-a-x- A- iniTi'JLn-Jin
I J s « 5 , r l-J ' I I . * I I I I e MB
|HH?5 Mfsss'T" ,
CPU
LAMP i +
-M«V
LAV> §+
+ («V
4 FORmRO t REyCNSE
-U sd- STEP
2d- OMO
- — H C
' 444 -^
'— 4 t lw
- UfHp
L UtdJ
•x.
ps
FjOWER SUPPLY
+1
49>±J
4 7d-l
HP 1
UtdJ
4 II H l! II II 6 10 1 47*54 JI&I I 1 S « J K * 7 ■
rH H 1 1 l-H M l i-l 1 1 i-H-l-u, r 1 H-H-H-H i ( ,
I ? *r T n i T-T-ll f TJ T ?JJ T-T-J T-iji J-j-J-j r t I
•» •* M yf f IIM
lilnaiillcalj i Jilin Sliil
if |i H
l t
iiimii I'M
4 r 4 & 5 «
4 4 T • 4 4
-T-Y-T t t t
ills 'HH
_ ill _
W-kaj-H I i I i i i-i-| e „ rH-H-H 1 I I'k-
- T T ; J J 4 J J J T j df-j- J L T _y_ T _T t t_t tj-J
m
47*446
< 0000
2 OOOO
3 0 0 0 0
H-l-H-H-H-
t S r 1 3 4 3 2 I
Itlltltll-
) O O O I
• 0 0 0 4
rm
« a a 6!
^4+jd — 1
i'ELl ) i) | J-*.3
-'l I
■ PV AYF*U> + CABINET
Backbox Wiring Diagram 47
+50 VDCL PPB J2-8/9
YEL-VIO
+ 50 VDC PPB J7-3
VIO— YEL
BRN
r
—
1
+32 VDCL PPB J6-1/2/3
BRN
T
► — i H
►— i «-j
1 . rH
,
■— 1
r <
►— 1 r-i
OUT HOLE
23-840
1L
NORMALLY CLOSED SIDE - "N C
NORMALLY OPEN SIDE - ‘ N 0 **
N U MEANS ' NOT USED”
POWER
SUPPLY-1
BOARD
6 .2 VAC
OUTPUT ,
TO H
BULBS
SOL DPNE 1 04«
SOL DRIVE 2 045
- "L"EFT
R TGHT .
\
C.P.U
BOARD
)
\
POWER
SUPPLY
BOARD
/
STAR WARS 9-1*92
48 Playfield Coil / Flash Lamp Wiring Diagram
"A” SIDE
B" SIDE
▼
BLU-ORN
BLU-RED
BLU-YEL
BLU-BRN
BLU-GRN
BLU-BLK
+ 32 VDC
CN3 v
POWER
SUPPLY
RIGHT
THUMPER
BUMPER
23-800
CN19
CPU BOARD
/ \
3 SW.SOL DRIVE 1Q8
4 SW.SOL DRIVE 2Q9
6 SW.SOL DRIVE 3Q10
7 SW.SOL DRIVE 4Q11
8 SW.SOL DRIVE 5Q12
9 SW.SOL DRIVE 6Q13
Playfield Special Coil Diagram 49
Switch
Number Description
Part No.
or
Plumb Tilt
See Cabinet
02*
4th Coin
-
03*
Credit Button
500-5097-02
04*
Right Coin
180-5024-00
05*
Center Coin
1 80-5024-00
06*
Left Coin
180-5024-00
07*
Slam Tilt
180-5022-00
08
Not Used
-
09
Not Used
-
10
Outhole
180-5011-00
11
Left Trough
1 80-5009-00
12
Center Trough
1 80-5009-00
13
Right Trough
180-5010-00
14
Shooter Lane
180-5100-01
15*
Left Flip. Cab
180-5048-01
16*
Right Flip. Cab.
180-5048-01
17
Right Loop
500-5142-00
18
Not Used
-
19
Left Loop
180-5087-00
20
Ramp Entrance
180-5087-00
21
Right Outlane
515-5138-00
22
Right Return
515-5138-00
23
Left Return
500-5142-00
24
Left Outlane
500-5142-00
25
X-Wing Target 1 (Left)
180-5082-06
26
X-Wing Target 2
180-5082-06
27
X-Wing Target 3
180-5082-06
28
X-Wing Target 4
180-5082-06
29
X-Wing Target 5 (Right)
180-5082-06
30
Top Drop Target
180-5092-00
31
Mid.Drop Target
1 80-5092-00
32
Bot. Drop Target
180-5092-00
33
Right Scoop
180-5057-00
34
Death Star Trough
180-5057-00
35
Obi-Wan Trough
180-5057-00
36
Left Vertical Up Kicker
180-6064-00
37
Left Scoop
1 80-5057-00
38
R2D2 Entrance
500-5142-00
39
Ramp Exit
1 80-5093-00
40
Bar Target
515-5630-00
41
Bar Motor Up
1 80-5052-00
42
Bar Motor Down
180-5052-00
43
Left Slingshot
180-5054-00
44
Right Slingshot
180-5054-00
45
Top Turbo Bumper
180-5015-00
46
Left Turbo Bumper
180-5015-00
47
Right Turbo Bumper
180-5015-00
48
Bottom Turbo Bumper
180-5015-00
49
Not Used
-
50
Shift Button
180-5110-00
51
Shift Down
180-5111-00
52
Not Used Through 64
-
* Indicates Cabinet Switches.
CN8
SWITCH DRIVE 2 ^
SWITCH DRIVE 3
SWITCH DRIVE 4
SWITCH DRIVE 5
SWITCH DRIVE 6
SWITCH DRIVE 7
SWITCH DRIVE 8
ScPU BOARD
SWITCH RETURN I
SWITCH RETURN 2
SWITCH RETURN 3
SWITCH RETURN 4
SWITCH RETURN 5
SWITCH RETURN 6
SWITCH RETURN 7
SWITCH RETURN 8
/
50 Playfield Switch Wiring Diagram
Lamp
Number Description
01
STAR WARS
17
Not Used
33
X-Wing Target 1 Left
02
STAR WARS
18
Extra Ball
34
X-Wing Target 2
03
STAR WARS
19
Lite C3PO Eyes
35
X-Wing Target 3
04
STAR WARS
20
Lite the Force
36
X-Wing Target 4
05
STAR WARS
21
Yoda
37
X-Wing Target 5 (Right)
06
STAR WARS
22
D.S. X Wing Mult.
38
Drop Target Top
07
STAR WARS
23
D.S. Tie Fighter
39
Drop Target Center
08
STAR WARS
24
Death Star Insert
40
Drop Target Bottom
09
D.S. Moon 1 Left
25
Credit Button
41
10 Million Left
10
D.S. Moon 2
26
C3P0 Left Eye
42
10 Million Center
11
D.S. Moon 3
27
C3P0 Mouth
43
Large Tie Fighter
12
D.S. Moon 4
28
C3P0 Right Eye
44
10 Million Right
13
D.S. Moon 5
29
Death Star Sphere 1
45
R2D2 When Lit
14
D.S. Moon 6
30
Death Star Sphere 2
46
Lite Laser Kick
15
D.S. Moon 7
31
Launch (Shooter Lane)
47
Power Scoop Left
16
D.S. Moon 8 Right
32
Upper Left Outlane
48
Power Scoop Right
* Indicates Speaker or Backbox Lamp
LB3
LB4
LB6
LB7
LB8
LB9
LBIO
LBIt
LBI2
LBI3
LBI4
LB 15
-eLh, ..
LBI7
LBI8
LBI9
LB20
LB2!
LB22
LB23
LB25
LB26
LB27
LB28
LB 29
LB30
LB3I
LBI6 LB24 | LB32 LB40 LB48
-0^, LQ-^
LB33
LB34
LB35
LB36
LB37
LB38
LB 39
LB4I
LB42
LB43
LB44
LB45
•LB46
LB47
LB 49
LB50
LB5I
LB52
LB 53
LB54
LB55
LB 57
0
LB 58
LB59
LB60
LB6I
LB62
LB63
LB 64
49 Ramp Hyper Space
50 Ramp Jackpot
51 Ramp Empire
52 Light Saber Arc
53 Right Outlane
54 Right Return Lane
55 Left Return Lane
56 Laser Kick
57 R2D2 Dome Left
58 R2D2 Dome Right
59 Victory
60 Special
61 Top Turbo Bumper
62 Left Turbo Bumper
63 Right Turbo Bumper
64 Bottom Turbo Bumper
CN7
YEL-BRN
YEL - RED
YEL- ORN
YEL - BLK
YEL- GRN
YEL - BLU
YEL- VIO
YEL - GRY
-<
■K
<
-K
K
-CPU BOAR!
RED- BRN
RED- BLK
RED - ORN
RED - YEL
r
RED - GRN
RED - BLU
RED - VIO
RED - GRY
<
<
<
<
<
10 G.l. FUSE 1
Playfield Lamp Wiring Diagram 51
GND + 5 V
L 0 G 4 G-
POWER
CNI7
0*
S T
S N
Q
RESEiTi
<? if I 4
PLANKING
‘ GEtFE-
«r^t 6 r
04
» « A » ^ _
T
CPU E, CLOCK
C Ranking
0 1*0
I
8808
B
j. «
T T # —
TBAffecE J <
0A4
DATA-BUS TRANSCEIVER
10
A
XI
LS24S
]
=. inT/
*
jr
&
4 g
Si IW
4 [
5
t
3
2
II
10
9
A
O
u
A
*
8
7
5
4
3
2
i
4011
S OU MB ,
DRIVE |»
”1 SEGMENT DRI’
nifliT RTPQWf mftiT rtporf
SI-S 9
• i
S 9 -SI 6
M '"’CIS
„c*
♦
g“"
w~m
Hf C3i- UNI
«!►
4F
4F
•IF
4F
4F
•*►
4F
•*►
■IF
4F
4F
■IF
_
HI C23
30
►
*^C31
D
HI 'C39
.* r ▼ ▼ *
[ 3 i’|play n
tOUTPUT
*♦* *
o
041
c
*
n
RA7
SOUND
6 P I A
#02*
ALPHANUMERIC
SEQUENT/ S 0 UNE 7
CO N TROL P 4 A-
DISPUAT
ye nST ROBE 74is *
fc DECODER
10
II
•021
DISPLAY STROBE
7 - SttsMENT P
l
n
N
— \\V —
0120
LS244
3
ADDRESS
DRIVERS
LS24 4
2
RAf
Ml SC
74Q4
TfefiBy ES p-fleiOp gR i—
rjON REf LEXIV ^
SOLENOID CONTROL g
L*00
LS 130
♦ sSHSli
7 •!«!:
_J 0 *1 *1 ■
s
LSO0
CMOS
RAM
WRITE
PBQTE
T •
LAMP PI A
0021
LSI30
LS32
LS 10
4020
7 LSO0 f I LSO0 ?
J-i LAM P ^ OR lVE *
JJT
•»* o
T o
SWITCH PIA J s
0621 C ▲
r
2 r
" i
• i
7 --SEG ME MX
DRIVE
if
©tFd-
44A44AA4 n A
T r T ♦ ^ T T ° . t?
7 -$EGMENTf
043
44A
O
S
SPECIAL
COIL SWITflHE
INPUT
12
7402
2
Oi
C4 1 4F
Of
42 4F
03
|C43 4b
04
C44 -*►
O0
C4B ■*►
D*
013
010
02 » »
C .1
ISEECIAfe
Wr
5 COIL “TS
WM-
010
-DRtVE jw-
02*
■■i -W M i-
~ — %v3*
03
04
03
017
010
AW-
027 00
32 H
020 Q7
W*r-
W r
4-
44 2
030
00
4310
Wq, | L
v — 1 'qI2
C^C
r&r
SWITCH RETURN (ROWS)
r>o°onoooQoo 0 no2o
IIIMUIN ANRuAu A^Olki*U
A fft A "4 O • — W N O U ~ A W II y
A
ff"
i*H 4 H 4 W*H
12345678
1 3
5
x
5
5
5 1
ft ^ 1
^ I
g 1
>-
ro
N)
N 1
1
CD
CD
o
ro 1
T~) 0 »ig
efH 4
CNI2
COILS 9-16
DRIVE
i •
COILS 1-8
DR I VE
■ewio
SWITCH RET
— ( R O WS-)
GND
CD
LUMNS)
oaO»o?n*o!o?2-2-
ga gggogo go*gofo*C
» 1 ^ o g _ • N V w o » u
♦ ii
-*■ !; g !
-r . • t .
#K?)( 6 )( 5 )( 4 l^)fe)« )
m oooooooo
A * A A A A AW
0A&-MUAA
RA0 n
CM*
50
50
K)
80
*0
*c )
N
K I
-W»-
n
n R 33
f>
PI R34
r>
PI 033
n
PI 036
o
PI 037
r>
pi R36
■Wi -
-wv —
■AW-'
AMS —
ASM -
ASM —
8
7
6
5
4
3
2
4
Pi
130
140
010 — 4
♦41 .... — WV-
• SWITCH DRIVE
1 (COtU M N S )-
CN7
ON 4
DI2 — 4
2 ■ ■■ ■ "AAAr
C47 Ht
SPEC
COIL
SWITCH
INPUT
SPEC
COIL
DRIVES
FLIPPER
GND
FLIPPER-
8
0 V I
FI I
4 GND
C40 4F
LAMP ffF
00)
n
062
C 40
AW-
° 7 LArMP
Q 6* (
C30
047
-bEHjs»
- (BOWSJ;
0*3
014
003
C 52
040
Q04
C53
030
♦ 43 ■■ ■■AM S- -- Q05
C 34
013 **
016 — ♦
044 AW -
017
DI0
031
006
C35
032
AW-
R45 - ■ ■ ■WS- " " Q07
C C56
> 010 A
C 033
020 — «
♦40 ws
02l — •
022
000
C67
054
ASM-
ASM-
O 0 35
M | — SW-
Pl
A
D ^0 36
w 2 — vs M -
u
A
D R37
2 3
ASS-
O - RM
S 4
ASM-
O R59
a 5 —
PI
V
O ^ 000
^ 0 -ASM
001
002
AW-
1 8
m
CN6
A W '
LAMP DRIVE
.(COLUMNS)
LAMP RET
— ( h’uwsr
LA
(4
MP B+
18 V)
O
z
A
L/.MP
Gfl D
V-'A3H
co-coos-ozs
52 CPU Board Assembly Diagram
CPU Board Logic Diagram (Sheet 1 of 4) 53
2
i
3
4
5
1
6
1
7
1
8
I o
12
13
CM2 TO CON. CN3 CNI TO CON. CN2
(MAS.DIS. BD) (MAS. D1S. BD.)
I I r
CN2 TO CON. CNI (MAS DlS.BD)
CO (jo to 0} cncnoo^'
^Cn-civ^N) 31 O
Co (J) (jo Co 40 ca co (JO .
oq -n (T' co CP — o
r\
s-*
Pi
p
n
n
pi
p
r\
r>
p\
p^
~2
-
TA
(P
c
ir \
CO
-O
—
r
u
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-j
oo
V
V
V
V
V
Y
V
V
y
V
Y
Y
V
Y
Y
V
Y
3a
^(<o H KA2 H. WyJ
(i-IH)tG
(l-IH) LED
(l- 8 H)UP/D
(hSH)fiOV.
(.1-126)2100 >-
(i-IA) AB >-
(M2D ) ItOO >-
( I - 1 A) B8 >-
a -120)3800 >-
(|-| 1 G)R/W >-
Cl-I 2 F) E >-
-I2F) RESET >-
(l-IZD) 3000 >
CMIO
KEYQ3
n
(6
15
m
is
u
to
7 L il5i 1H
23
22
21
U>
z
A.
±
5_
a!
290(7
! -**1 gai 1^1 <
23V2I
2 CQ 0
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MQO
uw
ff&SET
3000
n
iN
N
£
£3
3o
21
2S
a
21
77
24
A0 - A 13
2000
D0-D7
M00
K/W
RESET
055
RI05
O O O O O O O O
O ~~ N w -c ^ cr-J
VSS
03 O' ® O' ra
-J ^ Ui -t u» N — >S
15
12
It
1
H
l
H
, — Wv
w/\ I Cl/
H-E
8 J
18)244
1
4
I
(H
(o
5
5
l
3
3
1
h
M 1
1
R. 7 f
<*<
2
m
A
y-<+s
1
\.SK
2 hWd
2 W
RI 02
2N31DV
05^
yC 7 j
.oifl
5 IS K IX
2 N 3 M
05/
rio/ n>
1 *NAAr
~:C7g
♦aim
0 c/vfl
c~) SWITCH DRV.
CHS
t 2 > SWITCH DRV. 2
CA/?
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INC. 60 Display Controller Board 74HCT240 PAL16R4 Display Controller Board AREA USAGE l n z p PART NO. INTL CODE 281103-01 s REVISIONS ZONE SYM DESCRIPTION DATE APPROVED R19 Vcc 20K ► fAV| Vcc 1 r- D3 1N914 -L CM T 10uF Vcc U9 SN74LS74 Vsn -110 VDC PI 1 _ 2 Vrw -98 VDC 3 KEY 4 GROUND 5 GROUND 6 Vcc +5 V 7 Vert +12 VDC 8 Vsd +68 VDC | 3 L p Vcc ^ CIO ,luF 0250V Vcc 14 2 7 U3 Cl, .luF Cll .luF 0250V C2, .luF^^ . U3 . U3 110 I 12 Dj U9 j SN/4LS74 U CL«j ] 13 S Q 9 Q 8 Ufa 3 4 U. 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Star Wars Trilogy Pinball Game Operating Manual
Segunda parte del relato canon exclusivo de la revista Star Wars Insider, que
nos trae la conclusión de la historia de Joss y Pikka que no vimos en la novela
de The High Republic Light of the Jedi. Escrito también por Charles Soule este
relato en dos partes es un complemento perfecto al superventas de la nueva era
de la saga.
Starlight
Vamos juntos
Parte dos
Charles Soule
Aer)
MUA AOL: WO)
Esta historia forma parte del Nuevo Canon.
Título original: Starlight: Go Together: Part Two
Autor: Charles Soule
Publicado originalmente en Star Wars Insider 4200
Publicación del original: 9 febrero, 2021
SI
[a
alrededor de 232 años antes de la batalla de Yavin
Traducción: Mariana Paola Gutiérrez Escatena (para La Biblioteca del Templo Jedi); Corregido por Mario Tormo
Tavira
Revisión: Bodo-Baas
Maquetación: Bodo-Baas
Versión 1.0
20.02.21
Base LSW v2.22
Star Wars: The High Republic: Starlight: Vamos juntos: Parte dos
Declaración
Todo el trabajo de traducción, revisión y maquetación de este relato ha sido realizado por
admiradores de Star Wars y con el único objetivo de compartirlo con otros
hispanohablantes.
Star Wars y todos los personajes, nombres y situaciones son marcas registradas y/o
propiedad intelectual de Lucasfilm Limited.
Este trabajo se proporciona de forma gratuita para uso particular. Puedes compartirlo
bajo tu responsabilidad, siempre y cuando también sea en forma gratuita, y mantengas
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Este es un trabajo amateur, no nos dedicamos a esto de manera profesional, o no lo
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Este libro digital se encuentra disponible de forma gratuita en Libros Star Wars.
Visítanos en nuestro foro para encontrar la última versión, otros libros y relatos, o
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¡Que la Fuerza te acompañe!
El grupo de libros Star Wars
LSwW
LSwW
Charles Soule
Previamente:
Habiendo conseguido detener un problema catastrófico, que amenazaba con
destruir la Estación Starlight antes de que pudiera comenzar su esperanzadora
misión, los ingenieros Joss y Pikka Adren acabaron luchando salvando vidas frente
a una nueva y mortal amenaza para la paz en la República. Los Nihil.
Star Wars: The High Republic: Starlight: Vamos juntos: Parte dos
Hace mucho tiempo, en una galaxia muy, muy lejana...
ikka Adren observó la habitación, sintiendo la reconfortante presencia de su
marido justo detrás de ella. Joss, por una vez, estaba callado, lo cual era bueno,
teniendo en cuenta quienes esperaban en la mesa. No tenían pinta de ser el tipo de
personas con las que charlar un rato.
Ella y Joss ya habían estado en esta estación antes. La Estación Starlight, la enorme
instalación construida en el Borde Exterior como una de las Grandes Obras de la
Canciller Lina Soh, emblema de la República Galáctica. Pero desde la última vez que
estuvieron aquí, el camino que ella y su marido habían tomado les había llevado a lugares
increíbles, y habían hecho cosas que ella aún no podía creer que hubieran logrado, o
incluso sobrevivido. Como resultado, ahora se encontraban en una elegante sala de
conferencias, convocados a una especie de reunión informativa con una buena parte de
los más altos dirigentes de la República. La propia Canciller Soh estaba sentada a la
cabeza de la mesa, acompañada a su derecha por una mujer rubia vestida con túnicas
blancas y doradas: la Maestra Jedi Avar Kriss, el miembro de más alto rango de su Orden
destinado a Starlight.
Pikka conocía a la maestra Kriss de una batalla espacial en la que ambos habían
participado recientemente. ¡Una batalla espacial! ¿Qué terribles pecados había cometido
en una vida anterior para encontrarse luchando en una batalla espacial? Ella y Joss eran
básicamente trabajadores de la construcción de alto nivel. Habían ayudado a completar el
Faro Starlight, de hecho.
En realidad, no tenía a nadie a quien culpar mas que a sí misma. Ella y Joss se habían
ofrecido como voluntarios para luchar en la batalla de Kur. Al recordar la sensación de
aquella batalla (el caos, la intensidad, el miedo), Pikka sintió temblores y se obligó a
recuperar la calma. Sea cual sea la razón por la que ella y su marido habían sido
convocados, ella y Joss habían querido ayudar. Eso era todo.
A la izquierda de la canciller, estaba un oficial de alto rango de la Coalición de
Defensa de la República llamado Almirante Pevel Kronara, de pelo plateado y uniforme
gris y azul, y Pikka también lo conocía un poco. Un buen soldado de carrera, sencillo y
enormemente competente.
El resto de los asientos estaban ocupados por una combinación de oficiales del
gobierno y de la coalición; conocía al senador Izzet Noor, pero los demás eran nuevos
para ella. Sin embargo, había un montón de esos uniformes grises y azules de la RDC.
Pikka frunció un poco el ceño. Demasiados guerreros para una galaxia supuestamente en
paz.
—Bienvenidos —dijo la Canciller Soh—. Por favor, siéntense. Queremos terminar
con los informes lo antes posible.
Joss y Pikka entraron, sacaron dos sillas y se sentaron. El mensaje que habían
recibido, de uno de los ayudantes de Kronara, era vago, y sólo indicaba que se solicitaba
su presencia para ayudar a elaborar un informe posterior a la batalla de Kur. Aunque
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Charles Soule
Pikka no tenía mucho interés en revivir aquellos momentos, comprendía la importancia
de transmitir sus impresiones sobre el combate.
Pero ella y su marido se habían imaginado una entrevista rápida con un funcionario
del CDR, no una audiencia con algunas de las personas más importantes de la galaxia.
Esto parecía una especie de interrogatorio, ¡o un juicio! Ella estaba agotada y Joss
también. Ninguno de los dos había dormido bien desde Kur, y quizá se habían excedido
en la ceremonia de inauguración de la Estación Starlight la noche anterior. Se sentía
como una sombra, apenas presente, su insustancialidad subrayada por el brillo de todos
los demás en la sala.
—Pues... buenos días —dijo Joss—. Si hubiera sabido que esta sería una ocasión
formal, me habría lavado los dientes. ¿De qué se trata exactamente?
Pikka hizo una mueca.
Avar Kriss sonrió.
—Lo entiendo —dijo—. Yo también estuve despierta hasta tarde anoche. Menuda
fiesta. Sé que esto no es lo que ninguno de nosotros quiere hacer esta mañana, pero no
tardaremos mucho. Los dos fuisteis fundamentales para ayudar a derrotar a los Nihil en
Kur. Tenemos algunas preguntas sobre cómo lo hicisteis.
Pikka intercambió una mirada con su marido, y luego volvió a mirar a la Jedi y se
encogió de hombros.
—Sólo intentamos mantenernos vivos —dijo—. No hay mucho más que añadir.
—No estoy de acuerdo —dijo el almirante Kronara—. Pilotasteis uno de nuestros
Longbeams, como parte de la flota de la Coalición de Defensa de la República, reunida
para enfrentarse a un grupo de merodeadores del Borde Exterior llamados Nihil.
—Ayudasteis a hacer justicia por las miles de millones de vidas inocentes cercenadas
por sus salvajes ataques —añadió la canciller Soh de forma sombría, aunque con cierto
tono de aprobación, sobre lo adecuado de las consecuencias.
— Así es —aceptó Kronara.
Pulsó un botón en la mesa y un droide de comunicaciones flotante proyectó una
imagen bidimensional. Era un poco tosca, más gráfica que realista, pero Pikka reconoció
inmediatamente lo que mostraba.
A su lado, Joss gruñó. Él también lo había reconocido.
La Nebulosa de Kur. Y en una zona no muy lejana a su centro, un vasto conjunto de
naves de guerra representadas con símbolos de colores brillantes. Las fuerzas de la
República en verde: varios cruceros de la RDC, incluida la nave insignia del almirante
Kronara, el elegante Tercer Horizonte de clase Emisario, junto con una amplia dotación
de naves de ataque más pequeñas, los Longbeam de tamaño medio y los cazas Incom Z-
28 Skywing de un solo piloto. El crucero Jedi Ataraxia, y su propio despliegue de los
pequeños y ágiles Vectores, cada uno con un piloto Jedi al timón, todos en azul. Y los
Nihil, en rojo, con sus feas naves cubiertas de pinchos, cada una de ellas con tres
relámpagos brillantes en el casco. Las naves Nihil eran como dientes rotos en una
mandíbula enferma.
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Star Wars: The High Republic: Starlight: Vamos juntos: Parte dos
Ella y Joss también estaban en alguna parte de ese batiburrillo. Uno de esos
Longbeam era el suyo, el Aurora III, con Pikka navegando y manejando los sistemas de
armas y Joss en el asiento del piloto. Volando, luchando, intentando desesperadamente
mantenerse con vida.
Pikka apretó su mano temblorosa. Podía sentir los controles de las armas bajo sus
dedos, ver los objetivos Nihil en su pantalla. Su cabina inundada por la luz verde de la
nebulosa, sin saber si estarían vivos diez segundos después. Podía oír a Joss, gritando...
OS
—Por la luz... ¿qué están haciendo? —gritó Joss.
Mirando desde la cabina del Longbeam pudo ver una de las naves Nihil, una cosa
grande y voluminosa. Pensó que tal vez fuera un carguero de residuos reconvertido, y esa
sospecha se vio reforzada cuando la nave abrió su compartimento de carga y liberó un
horrible mar de lodo a su paso.
Otro Longbeam y dos Skywings iban tras una nave Nihil, todos moviéndose a tal
velocidad que no tuvieron oportunidad de esquivarlo. Volaron directamente hacia la nube
de asquerosa suciedad marrón grisácea, que se incendió a causa de los motores, y las tres
naves de la República se convirtieron en bolas de fuego.
Qué manera tan horrible, repugnante y deshonrosa de morir. Y esa tampoco era la
peor táctica que los Nihil estaban usando.
Los Nihil luchaban como bestias, como animales acorralados, intentando todo lo que
podían para destruir, para matar. Utilizaban cañones láser, misiles y torpedos, pero eso
era sólo el principio. Algunas de sus naves expulsaban gas radiactivo de sus reactores,
envenenando a los pilotos que tenían la mala suerte de atravesarlo.
Otras, fuertemente blindadas, intentaban embestir de manera activa y deliberada a las
naves de la República.
Joss recibió comunicaciones de otros pilotos de la flota llenos de pánico. Ninguno de
ellos era un cobarde, ni mucho menos, pero nadie había luchado nunca contra algo así.
Un torpedo de protones salió del arsenal del Longbeam y un pequeño y feo caza Nihil
desapareció.
—;¡Buen tiro, Pikka! —gritó Joss.
Su mujer no contestó. Se mantuvo concentrada en la tarea que tenía entre manos. Eso
era bueno. Ambos necesitaban hacerlo. Él volaba, ella elegía los objetivos. Y estaba
funcionando. Mientras Joss miraba su pantalla táctica, tenía la sensación de que los Nihil
estaban perdiendo, lenta aunque innegablemente. La disciplina y el entrenamiento del
RDC estaban superando la voluntad de los Nihil de luchar sucio.
Algo sucedió.
Los iconos rojos que representaban a las fuerzas Nihil comenzaron a parpadear,
desapareciendo y reapareciendo. Joss golpeó el puño contra la consola, pensando que tal
vez había un cortocircuito (nada como un buen golpe para arreglar un cable mal
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Charles Soule
asentado), pero nada cambió, excepto que ahora las naves de la República y de los Jedi
comenzaron a desaparecer de la pantalla.
No era tan dramático cuando eran pequeños iconos en una pantalla, pero... Joss miró
hacia arriba. Pudo ver lo que estaba sucediendo con sus propios ojos, y fue horroroso.
Increíble. Las naves Nihil realizaban lo que parecían micro-saltos a través del
hiperespacio, pequeños saltos que las hacían imposibles de apuntar, desapareciendo y
reapareciendo a cortas distancias. Y, a su alrededor, las explosiones estallaban en la
negrura del espacio, mientras gente buena moría tratando de hacer lo correcto.
ES
Pikka miró la proyección que había sobre la mesa de conferencias, recordando el horror
de aquel momento, al darse cuenta de que su enemigo era capaz de algo que ellos no, y
no tenían forma de combatirlo.
—Todavía no sabemos cómo lo hicieron los Nihil —dijo el almirante Kronara—,
pero sabemos que la táctica fue devastadora en el lugar de batalla. Sólo los Jedi parecían
capaces de luchar eficazmente contra ellos, a través de sus reflejos y velocidad
mejorados.
—A través de la Fuerza —dijo Avar.
Kronara asintió con fuerza en señal de reconocimiento, y luego se volvió hacia Pikka
y Joss.
—Me he expresado mal —dijo el almirante.
—Los Jedi no eran los únicos pilotos que parecían capaces de contrarrestar los micro-
saltos de los Nihil.
Señaló hacia el final de la mesa, directamente a ellos.
—Vosotros también lo lograsteis. Vuestro Longbeam fue capaz de reaccionar y
maniobrar con una precisión y velocidad superiores a las del resto de nuestra flota. Donde
otros perecieron, vosotros dos sobrevivisteis. Necesitamos saber cómo lo hicisteis.
Pikka tragó saliva. Miró a su marido.
—.¿Puedes creer que simplemente somos así de buenos? —dijo Joss.
—Probablemente no —dijo Kronara.
—Tal vez usamos la Fuerza —dijo.
—-En cierto modo, todos los seres vivos utilizan la Fuerza —dijo Avar—. Pero no. No
la usasteis.
La canciller Soh habló, las primeras palabras que dijo desde que les dio la bienvenida.
—Joss, Pikka. Necesitamos saber qué habéis hecho. ¿Fue suerte, o algo que podamos
replicar? Algo que podría salvar otras vidas en posibles combates futuros.
——Pero los Nihil han desaparecido. Todas sus naves fueron destruidas en la batalla.
—Sí —dijo la canciller—. Lo sé. Aún así. Complacednos.
Pikka miró a Joss. Se encogió de hombros.
—Díselo —dijo.
LSwW
10
Star Wars: The High Republic: Starlight: Vamos juntos: Parte dos
OS
Joss miró las caras tensas, serias y con el ceño fruncido que estaban sentadas alrededor de
la mesa. Los únicos que parecían relajados eran la canciller y la maga del espacio, lo cual
tenía sentido: eran los más poderosos de la sala. Suspiró. Estaban atrapados.
—Hemos hackeado los sistemas de seguridad del código operativo del Longbeam —
dijo—. Bueno, en realidad...
Señaló con el pulgar a Pikka.
—... ella lo hizo.
—Muchas gracias —murmuró su esposa.
— Hackear equipos militares de la República conlleva duras penas —dijo uno de los
oficiales del RDC.
—(¿Más altas que morir? —Respondió Joss acalorado—. Pikka y yo somos expertos.
Así nos ganamos la vida. Desciframos sistemas y pensamos en formas de mejorarlos.
Tanto si se trata de una estación espacial como de una nave estelar, a los dos nos gusta
saber cómo funcionan las cosas. No íbamos a llevar uno de vuestros Longbeams a una
batalla si no sabíamos lo que podía hacer.
Miró a Pikka, asintió con la cabeza para que continuara.
— Así que, sí. Hackeé el código de operaciones. Eso es todo. No cambié nada.
—Bueno... —dijo Joss.
Pikka lo fulminó con la mirada y luego respiró profundamente. Miró la pantalla de
batalla, recordando.
ES
—;¡Desacopla los propulsores! —Le gritó Joss.
—-¿Qué? —Pikka frunció el ceño.
—¡Eso que encontraste en el código! —dijo mientras la nave se sacudía bruscamente,
probablemente evitando, por poco, una ardiente y agonizante muerte.
Entendió lo que quería decir. Cuando accedió al código del Longbeam en el Tercer
Horizonte, antes de que lo sacaran, había visto que todos sus propulsores estaban
controlados por ordenador, conectados entre sí para asegurar una maniobra suave. Pero
era posible, con varios elegantes atajos, desvincularlos. De modo que cada propulsor
pudiera funcionar de forma independiente, bajo control manual.
Pikka introdujo los comandos, y de repente el control de la nave resultó... más
sencillo. Más maniobrable.
— Muy bien —oyó decir a Joss.
—Esto funciona. Veamos que es lo que puede hacer realmente este trasto.
El Longbeam se movió de nuevo, esquivando, zigzagueando por el espacio. Se notaba
distinto, vivo, de una manera distinta que antes.
LSwW
11
Charles Soule
Joss gruñó en señal de aprobación, y luego voló, y Pikka luchó, y a su alrededor, las
naves Nihil explotaban, y de alguna manera, increíblemente, sobrevivieron.
ES
— ¡Esos sistemas están conectados para evitar el sobreesfuerzo de la estructura del
Longbeam! Podría haberse partido —dijo otro oficial del RDC.
Joss puso los ojos en blanco. Abrió la boca para contestar, pero Pikka se adelantó.
—No con Joss al timón —dijo sencillamente, escueta y segura.
—Tengo bastante idea de lo que puede soportar una nave —dijo Joss.
Se hizo el silencio en la mesa mientras los asistentes reflexionaban.
—Por que... —decía el Almirante Kronara—, hackeasteis nuestra nave para salvar
nuestra nave.
Joss asintió.
—Supongo que sí.
El almirante miró a la canciller.
—Gracias a los dos —dijo la mujer más poderosa de la galaxia—. Pueden marcharse.
Starlight: Vamos juntos: Parte dos
HE ART OF
—5 1 AA ee
GUE \ fe
EPISODE I
THE PHANTOM MENACE,
AN EXCERPT OF THE BOOK WRITTEN BY JONATHAN BRESMAN
PRODUCED EXCLUSIVELY FOR
THE WIDESCREEN VIDEO COLLECTOR EDITION
THE ART OF
STAR.
WARS
EPISODE I
THE PHANTOM MENACE
THE ART OF
am) LU /A\| Ren
WaLAL
The Art of Star Wars : Episode I The Phantom Menace
STAR WARS
ART INSPIRED BY A GALAXY FAR, FAR AWAY,
star Wars Identities.
Greg Hildebrandt ’
Ralph McQuarrie
Andy Fairhurst
Cecilia Garcia
Malcolm Tween ,
Grant Gould
Dave Dorman
Chris^an Waggoner
Doug Cowan'
lain McCaig*
Jon Foster
Justin Goby Fields
Matt Busch
Aaron McBride
Tony Foti
Roger Kastel
Sean Marino
Stephen Hayford
Terese Nielsep •
Terry godson
Steve Argyle
• Alex Garner
Terryl Whitlatch'
Stephen C’hang
Ashton Gallagher
• Ansel Hsiao
Brandon Kenney
Dave Seeley ■
Dermot*Power-
Alexandre Charleux
, Cat Staggs
; Simon Goinard
HP *
. Randy Martinez
Andrew March
Karen Hallion
Daryl Mandryk
■ Josh Viers
Jan Urschel
Furio Tedeschi
Kai Carpenter
Michael Pedro
Izzy Medrano
Bobby Pontillas
Michael Peter
. Brent Woodside
Guillaume Menuel
^ Linzy Busch
Mark Molnar
Chris Trevas
[ 4 ] THE ART OF FILM : STAR WARS
IWJIJOR PKOTU.AKnSR’TV/'
iniai^elA
3JPHHSEMTS
THE ART OF
FILM
VOLUMliONE
Welcome to a celebration of incredible
art inspired by a galaxy far, far away...
Star Wars wasn’t only nnade on the cinema screen,
but off screen, in the hearts and minds of everyone
who watched it. The Star Wars legacy was etched
out over time on sweet wrappers and on book
covers, in the pages of comics and in video game
concepts... Star Wars was built by us, in our wider
lives. This special Star Wars issue, the first in the
Art of Film series, celebrates the artists, official and
fans, who have had a part in building the Star Wars
legacy. Some of the featured artists have worked on
the films, some have been inspired by them, all have
helped inspire us to continue to love the myths and
legends of this great space opera.
Ian Dean, editor
ian.dean@futurenet.com
[ 6 ] THE ART OF FILM: STAR WARS
THE ART OF FILM: STAR WARS [ 7 ]
The image of the
talkative C-3P0 is
made up of his own
words meticulously
rendered in Aurebesh.
Darth Maul is made
up mainly of lots of
tiny Darth Mauls!
STAR WARS
IDENTITIES
Discover the true characters, and find the secrets,
in these unique works in the touring exhibition
There are
secrets in all
the illustrations.
The Millennium
Falcon is hidden
somewhere in
this Darth Vader
portrait. Can
you see it?
O hen the original
Star Wars movie
burst onto cinema
screens almost 40
years ago, nobody
could have realised
just what an impact it and its
sequels would have on the lives
of so many people. At the heart
of the story are characters we
all fell in love with - but who are
they really? This is the question
the touring exhibition Star Wars
Identities aims to discover - and
along the way you can discover
your own true self.
The exhibition, currently on
show in Cologne in Germany,
brings together unique art and
media from the Star Wars archives.
Some of it is commissioned for the
show, some of it original narrative
art from the Lucasfilm archives.
There are over 200 original props,
costumes and artworks from all
six Star Wars films.
“Lucasfilm wanted it to be
educational and so after a lot of
thinking we came up with the idea
of exploring the characters, and
that is how we ended up exploring
the notion of identity,” explains
communications director and
museum liaison at X3 Productions
Sophie Desbiens. “The exhibition
basically asks: what makes you,
you? We use - in parallel - the
evolution of Luke Skywalker and
Anakin (Darth Vader), who started
off with similar origins and ended
up quite differently.”
The exhibition examines the
evolution of the personalities
of famous Star Wars characters
through their stories. With the help
of a scientific committee made up
of specialists from neuro-sciences,
psychology and genetics, the
show organisers defined ten
elements that compose someone’s
identity and applied this to the
characters of Star Wars. If you
visit, you get the same treatment
and have the opportunity to not
only look at what makes you who
you are but also to create your
own Star Wars identity.
The centrepiece of the show
is a set of unique illustrations
commissioned on the theme of
Let me tell you, the
entire agency’s staff
fought over who was
going to get to work
on this project! JJ
Star Wars and identity. The
creators of these stunning pieces,
Jean-Franqois LeBlanc, Sebastien
Maheux and Louis Hebert, all
work for the organisers’ ad
agency Bleublancrouge. “Let me
tell you,” confides Sophie, “the
entire agency’s staff fought over
who was going to get to work on
that project!”
The idea of the exhibition is to
explore what makes people who
they are. The challenge for the
artists was to render that concept
visually. Each illustration explores
what makes the character who he/
she/it is, in a manner reminiscent
of Arcimboldo’s famous portraits
composed of fruit and vegetables.
[ 8 ] THE ART OF FILM: STAR WARS
THE ART OF FILM: STAR WARS [ 9 ]
In the Yoda
portrait, can you
find Luke, R2-D2
and Obi-Wan
Kenobi? There
are also a few
levitating rocks!
WHAT FORCES SHAPE YOU?
Stormtroopers
have meaning
and identity
only in a mass of
Stormtroopers -
with their sinister
leader literally at
the centre
IDENTITIES
THE EXHIBITION
X9 Productions
Take the Darth Vader illustration.
The ultinnate nnaster of evil, Vader
becanne a powerful Sith Lord
when he chose the Dark Side of
the Force. At the service of the
Emperor, he became an agent
of war intent on ruling the entire
galaxy. “His portrait illustrates this
by making him a literal black hole
of space in the galaxy, and his
likeness is made up of spaceships
with his ultimate weapon of
destruction - the Death Star -
as his brain,” explains Sophie.
In the Yoda portrait, we can see
how the character’s story plays in
the illustration: on Dagobah, his
planet of exile, the Jedi master
has become one with the Force
after his physical existence ends.
“His absence is now a spiritual
presence in the environment.
This translates in the fact that
his portrait is made up of empty
space,” shares Sophie.
The Stormtroopers are an
interesting subject, considering
that they are not distinct, singular
characters. “They have strength in
numbers, and so the power of one
Stormtrooper is represented here
by the multitude,” says Sophie.
“It’s all for one,” she explains, “and
their leader, Darth Vader, is at the
centre of it all. Literally. Try to find
Vader among the multitude in this
portrait. And as a bonus, try to
find the intruder, namely a little
droid called R2-D2.”
In fact, all the illustrations
created for Star Wars Identities
feature hidden secrets. “The
C-3PO illustration is one of my
favourites because of its intense
geekness,” shares Sophie. “Built
by Anakin Skywalker, C-3PO is an
etiquette and protocol droid who
is also fluent in six million forms
of communication. Throughout
the saga, C-3PO has exhibited a
fairly nervous and worry-prone
personality and is also known to
talk incessantly. He is represented
here by his own quotations, taken
from all six movies and translated
into Aurebesh. Yes, all these
symbols are a fictional alphabet of
Basic language in the Star Wars
universe. How crazy is that? The
designers took the time to take
© 2012 Lucasfilm Ltd. & TM. All rights reserved. Usad under authorlzaliart.
[ 10 ] THE ART OF FILM: STAR WARS
THE ART OF FILM: STAR WARS [ 11 ]
You not only
recognise the
characters but
also recall the
themes and
incidents
represented by
the component
elements
The exhibition is
in three sections,
which follow
the progression
of identity from
childhood to
adulthood: first
Origins, then
Influences, and
finally Choices
IDENTITIES
THE EXHIBITION
IllS^i^l Productions
famous C-3PO quotations from all
six movies, translated them into
Aurebesh, and created his portrait
out of that. Nuts!”
It’s a testament to the strength
of the characters created by
George Lucas that these heroes
and villains still inspire artists
today. Sophie believes it’s because
they are just like us. Star Wars is
about archetypes and (in Jungian
terms) the collective unconscious.
The story George Lucas set out to
tell is the story human beings have
been telling for ages. As Joseph
Campbell (who is known to have
influenced Lucas) explained in his
book The Hero with a Thousand
Faces, this story is based on a
fundamental structure, called the
monomyth of the hero: something
happens to a young ordinary
person which means he then has
to go on a quest. Along the way
he will meet friends, mentors
and obstacles, and he ends up
in a final fight with his nemesis
(representing Good vs Evil).
Through that adventure, he will
come of age and find himself.
A love of Star Wars
gets transmitted from
one generation to the
next It’s very powerful,
just like m 5 Thology 99
“Basically, Star Wars is modern
mythology. And that is why
these characters are loved the
world over and are still relevant
today, almost 40 years after their
creation. It is amazing to see
that the love of Star Wars gets
transmitted from one generation
to the next - it is very powerful,
just like mythology. What I like
the most is that you can see in
people’s eyes the happiness it
brings them,” concludes Sophie,
before adding: “That always
impresses me. I really love it and
feel really lucky to work on such
an amazing project.”
www.starwarsidentities.conn
©2012 Lucafifilm Ltd. &TM. All rights rasarviad. Usad undar authorlzatiort-
[ 12 ] THE ART OF FILM: STAR WARS
GREG
HILDEBRANDT
The legendary painter shares his new Star Wars art and reveals
how he and his brother Tim designed the original film poster
O ogether with his twin brother Tinn,
Greg Hildebrandt was comnnissioned
in 1977 to paint the original Star Wars
film poster. The work was produced for
the Jon and Murray ad agency in New
York, and the two 38-yeai"-old artists
were given just four days to paint the poster for a film
nobody had yet seen or heard of...
“They called us because of a Young Frankenstein
painting that we did for them, in 24 hours, back in
1974 for the Mel Brooks film, and the fame we’d gained
thanks to our Lord of the Rings art,” Greg recalls.
“We went in to the city and discussed the layout they
wanted. They gave us some 8x10 photos from the film
for reference. Then we went back to my studio and
painted non-stop for 36 hours to deliver the job.”
Could anyone have anticipated then that Star Wars
would become so popular? “Of course not,” Greg
replies. “No one did.” What’s more, he adds: “The ad
agency that had the account had no idea what it was.
When I asked what the movie was about, they said
they had no idea, they had not seen it. They thought
Vader was something like The Man in the Iron Mask.”
Now, almost 40 years since that poster and 20 years
since his last Star Wars illustration, Greg is painting
Star Wars again. He’s been commissioned by Marvel to
create three new paintings, one for each of the original
films, for Omnibus Editions of the original comics.
“When Marvel first contacted me, I was hesitant. I
had not painted Star Wars since 1995. Twenty years
is a long time. But as I began to work out sketches, it
felt right. I thoroughly enjoyed jumping back into the
Star Wars Universe. I tried to challenge myself with
each piece and hopefully I succeeded in creating three
paintings that the fans will like.
“Each painting is its own challenge. I try for what
I hope is the best composition and the best lighting
setup I can come up with. Technical accuracy is
important most of the time, [but] especially if it’s a
subject like Star Wars. You have to make sure you
paint the costumes and the ships as the fans know
them, or else you look like an idiot. So of course I
went out and bought models of the characters and
the ships one more time. Thank God my son, Gregory,
of film: ^tarfWArs [
Greg Hildebratf^fs ,
new cover paintings
for the Omnibus
editions of Marvel's
priginal Star Wars ,,
comic series • *
G K r?^B RAW&T
© Lucasfilm Ltd & Marvel. All Rights Reserved.
[ 14 ] THE ART OF FILM: STAR WARS
[ 16 ] THE ART OF FILM: STAR WARS
"We always shot models for lighting.
I got my wife to wear a nightgown,
put her in the pose and took black-
and-white Polaroid photos. Then we
grabbed a friend and put him in an
old, torn terry cloth bathrobe for Luke
Skywalker. He was holding a hammer
- for the lightsaber. Since then I've
never been able to throw that robe
away. It's become an iconic costume"
"The gun went off the second we
got back to my studio. We posed
the figures, did the layout, then
painted like sons of bitches. I slept
a few hours while Tim painted,
then he slept a few hours while I
painted. We did this for the first
half of the 36 hours. The second
half we just stayed up and painted
together, side-by-side. There was no
other way we would finish in time"
is a giant Star Wars kid - at least I have someone to
leave all these things to!”
This time Greg had more time for the paintings, so
the process was more enjoyable. “I wasn’t moving
like a house on fire,” he says. But now he had to work
without his brother, who passed away in 2006. “These
paintings were the first Star Wars pieces I was doing
on my own without my brother Tim, which made these
paintings unique for me and a new experience.”
Now that he is revisiting Star Wars, Greg reflects
on how the series has stood test of time. “I am not
surprised because it has been consistent since 1977.
I am however amazed that it is stronger than ever.
George Lucas was able to combine all the archetypes
of mythology that have been here since the beginning,
into one world that touched each of us in its own way.
He created the ultimate sci-fi fantasy.
“The entire universe that Lucas created inspires art.
It is filled with universal archetypes of good and evil
that transcend any particular moment and time. And
conflict is a universal theme in art since the beginning
of time.”
Now his new Star Wars paintings are finished, Greg
is turning to other projects. He’s created new pin-up
paintings in his American Beauties series and finished
the third painting in his Kid Stuff series - paintings of
dolls: “These are dark, scary, very large paintings that
I have wanted to do for years, and I love them.”
"When we delivered the painting
the droids weren't in it. I told the art
director that the space was too open
and it needed something. I suggested
the big hairy guy, but they called
George Lucas and he said, 'Good idea.
Tell them to paint the droids in it.' We
ran to an art store in New York. There
wasn't time to go back to my studio,
so we painted R2-D2 and C-3P0 right
there at the agency"
www.spiclerwebart.com
■ MAKING HISTORY
Greg reveals some of the secrets behind the iconic film poster
■ We were told that George Lucas wanted the image to
be comic-book-like - not our genre at that time. We decided
the figures had to be of heroic proportions, which in reality
the actors were not, with intense colours.
■ We were told not to make it look like the actors
because they were unknown - not for long, obviously!
■ In those days artists weren't usually credited on movie posters,
so we painted our name small. Murray said that George wanted
the signature large. So we painted it out and repainted it bigger.
■ For the first time we used Dioxazine Purple instead of
black. We realised it's actually a deeper black than black.
This was a revelation for us.
Lucasfilm Ltd. All Rights Reserved.
[ 18 ] THE ART OF FILM: STAR WARS
RALPH
McQUARRIE
From films to book covers to NASA, the iconic artist has
visualised many projects, but it all began with Star Wars...
THE ART OF FILM: STAR WARS [ 19 ]
ithout Ralph
McQuarrie there
would be no Star
Wars. In 1975 a
young George
Lucas was touting
his idea for a space extravaganza
around Hollywood. United Artists
turned it down. Universal couldn’t
grasp the idea. Men in suits used
to counting bottom lines failed
to connect with a universe of a
myriad boggle-eyed creatures,
rebellious galactic princesses and
space-knights wielding pseudo-
religious doctrine. Lucas needed
someone to visualise his ideas...
At the time Ralph was fresh
from California’s Art Center
College of Design and, after a
stint at CBS creating paintings
and animation for the Apollo 11
moon landing, took a job with Hal
Barwood and Matthew Robbins
on a movie pitch called Galactic.
“There were furry blue aliens
with lights on their chests, robots
that climbed up the wall [and]
a big vehicle they explored this
planet with,’’ recalls Ralph when
ImagineFX spoke to him in one of
his last interviews before his death
in 2012. “I really enjoyed the work. I
felt like I was where I should be as
an artist with these illustrations.’’
Although Galactic never reached
the big screen, Hal and Matthew
introduced Ralph to their friend
George Lucas, who was struggling
to get his intergalactic war film
made. “It sounded like a neat
idea, but I didn’t expect to ever
hear from him again,’’ says Ralph,
remembering his first, casual
Luke on Noth. Ralph's contribution in
visualising key scenes in the scripts
cannot be overestimated. As George
Lucas put it, "When words could not
convey my ideas, I could always point to
one of Ralph's fabulous illustrations and
say, 'Do it like this'." He helped bring a
galaxy to life - and to a cinema near you
All images copyright: © Lucasfilm Ltd.
[ 20 ] THE ART OF FILM: STAR WARS
When work on The Empire Strikes Back
began, Ralph moved to England and
spent time on set and at the studio, as
he had not done for the first film. Ralph
produced more artwork for The Empire
Strikes Back than for any of the other
Star Wars movies. As with A New Hope,
George would riff off Ralph's paintings,
reworking the script to combine his
designs into the story - such as the
battle on Hoth
meeting with the filmmaker.
But soon George was back and
needed Ralph’s help with one last
pitch, to 20th Century Fox, to
create paintings that would enable
the executives to understand the
scope of the film George had in
mind. “While I was working on
these things, I thought, wouldn’t it
be great if some of these actually
made it into the movie!’’
While the pitch went smoothly
- Star Wars was up and running
- it was the result of a solid three
months’ hard work. Ralph had
been given reference material
edited together by George, from
which he would create his art.
Then the film-maker would come
by, indicate which pieces he liked
and which needed changes.
Of course, Ralph also had an
early draft of the script on his
desk. “I was captivated by it,’’
says the artist as he remembers
the first time he read the script
for Star Wars. “The day I got the
script from George and Gary
[Kurtz], I started sketching right
away. I did some thumbnails of
the ships flying around the planet
being chased by rebel fighters. I
think I had it all wrong in terms of
what was finally filmed, but those
were the first illustrations I did for
Star Wars.’’
By the time filming began,
George had hired an art team to
visualise his story. Although Ralph
worked from home, rarely visiting
the sets, his work on the pre-
production designs influenced the
whole film, including those artists
who were hired. Like Ralph, new
storyboard artist Joe Johnston
and modeller Steve Gawley
had a similar industrial design
background. “While at Art Center,
Syd Mead was one that we all
looked up to,’’ recalls Ralph.
Eventually even the script was
waylaid as Ralph’s imagination
took hold, with George preferring
to talk through ideas before
writing them down. This creative
approach led to many of the
film’s key designs, including Darth
Vader, R2-D2 and the Sandcrawler.
However, the most iconic design
was the Death Star.
THE ART OF FILM: STAR WARS [ 21 ]
££ I picked up a bubble
gum wrapper with Darth
Vader on it. I knew then
I was part of something
very special J J
■ DEFINING EVIL
One of cinema’s most iconic
villains looked very different
before filming
Darth Vader went through many
changes, beginning as an elegant
Japanese-inspired warrior dressed
in silk. Ralph changed the design,
adding the now famous helmet and
suit based on a line in the script that
explained how Vader was cutting his
way into the Blockade Runner from
outside, in space. He'd need a helmet,
argued Ralph. In his early paintings
Vader was a ratty character, wiry and
evil. It was only when modellers in
the UK interpreted his paintings that
Vader became the imposing eight-
foot-tall villain.
Ralph says he couldn't imagine
how iconic Vader would become,
until the film had been on release
for a few months. "I was walking
down Hollywood Boulevard and a
piece of paper came blowing up the
street. I bent down to pick it up and
it was a bubble gum wrapper with a
picture of Darth Vader on it," he says.
"I knew at that point I was part of
something very special."
Vader was something special.
The original concepts all showed
the Sith Lord with a narrow chin
and high, sharp cheekbones, set
under a wide-brimmed hat. Ralph's
Vader had impact and his vision of
villains with skull-shaped helmets
permeated into the Stormtrooper
designs - although, as with his Vader,
practicality skewed the design as
they were drawn to be pilots.
[ 22 ] THE ART OF FILM: STAR WARS
%
m
Ajf
J
4 ^
THE ART OF FILM: STAR WARS [ 23 ]
The rancor pit: Ralph
spent less time working
on Return of the Jedi
than the previous two
films, largely because
many of his designs
created for Star Wars
were edited out of the A
New Hope storyline and
incorporated into Jedi
■ BOARD TO SCREEN
Not all of Ralph’s concepts
made it to the big screen
as he intended...
Many of Ralph's Star Wars
paintings were used as inspiration
while never making it to the screen
in their exact form. The Tusken
Raiders are one such design. Ralph
points out how the Sand People
of Tatooine looked different
conceptually to those characters up
on screen. The characters featured
a gauze and metal mask similar
to his designs, but they were
more bug-eyed and cartoonish.
Ralph puts this down to modelling
techniques of the time, resulting in
caricatures of his designs, making
the eyes tubular and projected
[ 24 ] THE ART OF FILM: STAR WARS
t£ At the time, I
imagine, many
of my illustrations
would have been
considered
‘out there’...
“At the time, I imagine, many of
my illustrations would have been
considered ‘out there’,” says Ralph.
He explains how his design for
the Death Star would have looked
more like one of his favourite
photo enlargers he uses for
painting - focusing a gigantic laser
cannon. “George liked the sphere,
based on some science-fiction
illustrations he had seen by John
Berkey. I felt the sphere was such
a comfortable form, but I have to
say it worked well in the film.”
Ralph retired before digital art
took hold, yet his process is similar
to that of many concept artists
working today in Photoshop. He’d
start with a drawing the same size
as he was going to paint, which
for production paintings was
15x8.5 inches. Often Ralph would
use his image enlarger to blow
up a thumbnail drawing, before
refining the sketch on tissue. “I
might use several layers of tissue
representing different levels in the
painting,” says Ralph. He’d tape
off a piece of illustration board
the size of the painting and put a
coat of acrylic on it to get rid of
the white. “I would then put my
drawing down on the illustration
board and trace down what I
was going to paint. I’d paint my
way from the background to the
foreground, painting in silhouettes
for foreground objects, and then
trace down the details from
my original illustration into the
silhouette. I’d paint in the details
until I felt the piece was finished.”
Ralph would regularly need to
refine his paintings as filming and
THE ART OF FILM: STAR WARS [ 25 ]
By the time Return
of the Jedi came
around, Ralph's
designs were being
converted to screen
almost unchanged.
One of the best
examples is his
design for Jabba's
sail barge, which
remained faithful
to his sketches
LF.Ll98i
[ 26 ] THE ART OF FILM: STAR WARS
After Return of the Jedi
was completed Ralph was
asked to create a number
of new paintings to add to
a portfolio. This, he says,
is why some of the art
from Jedi features strong
likenesses of actors in the
film, like this image of the
speeder chase on Endor
££ Many artists work
their entire lives
without recognition,
so I realise how
fortunate I am. I owe
it all to Star Wars 55
Ralph's impact on the look of
the Star Wars trilogy was so
great that many scenes are
near identical in their setup.
Here's Ralph's painting of
the closing moments of The
Empire Strikes Back
production developed. While he
painted concepts for the X-wing
and TIE fighter craft, the likes of
Joe Johnston and Colin Cantwell
would take them on and refine
them at the modelling stage.
Likewise, some of Ralph’s most
popular designs came about
by sheer luck. Like many of us,
Ralph had a tendency to doodle
in meetings. As George Lucas
led a meeting about The Empire
Strikes Back, Ralph etched out a
helmet design in his notes. “When
we were done, George looked at
it and said we should use that for
a bounty hunter,” Ralph says, and
that was how Boba Fett’s iconic
look came about. “It was just one
of many concepts I worked on for
the films,” says Ralph modestly.
Many of Ralph’s pre-production
paintings weren’t meant to make
it to the film, yet they were so
concise, fresh and dynamic that
George took them down to the
set to help him express how he
wanted Star Wars to look.
Years later Ralph returned to
his paintings in the 1995 book The
Illustrated Star Wars Universe,
revisiting some ideas from his
production paintings. “I was able
to complete additional paintings
of Dagobah, Cloud City and the
Imperial City that would finally
appear on-screen in the prequels,”
says Ralph. His original production
paintings were used again for the
very same purpose when work
began on Star Wars Episode I,
under the leadership of Doug
Chiang. Concepts and scenes that
went unused from the original
trilogy, including designs for the
Imperial City for Return of the
Jedi, eventually made it into the
prequels, which proved just how
timeless Ralph’s concepts were.
From Star Wars, Ralph went
on to work on a number of
other films, including Battlestar
Galactica, FT and Cocoon - for
which he won the 1985 Academy
Award for Visual Effects. He
illustrated science-fiction book
covers and two volumes of Isaac
Asimov’s short stories on robots.
Over his 30-year career he
worked in film and TV, on projects
for NASA, video games and
advertising, as well as producing
many personal paintings.
“As a result of Star Wars, my
work has been seen by millions,
reproduced the world over and
collected in numerous art books,”
says Ralph, acknowledging the
impact that those first three
months in 1975 have had on his
life. “Many artists work their entire
lives without such recognition, so
I realise how fortunate I am. And I
owe it all to Star Wars.”
www.ralphmcquarrie.com
[ 28 ] THE ART OF FILM: STAR WARS
Andy's painting of
Jango Fett is one of a
series of profile views of
key Star Wars characters
- Boba Fett is another
ANDY
FAIRHURST
Unusual compositions and symmetries make the
Welsh artist’s work stand out from the crowd
fter being
comnnissioned
to create a
poster series for
Acme Archives
and Bottleneck
Gallery to coincide with Star Wars
Celebration, Welsh freelance
artist Andy Fairhurst struck on
the idea of painting three pivotal
characters from the original trilogy
in moments of reflection. “I like the
central symmetrical positioning
of them, and I tend to work that
way a lot,” says Andy, who has
been painting digitally for over
10 years. Recently he’s ventured
into alternative posters and movie
art prints.
As for his love of Star Wars, he
says: “For me personally, it was the
start of everything regarding art. I
was five when I saw it and, when
I returned home from the cinema,
I drew a space battle scene. That is
my earliest memory of drawing. It
still inspires me now after all these
years... decades later! I don’t quite
know what it is but it has a strong
hold over a lot of people and is
responsible for the start of many
an artist’s career. It’s just magical.”
And why does Andy enjoy
painting Boba Fett so much? “It is
as simple as: he just looks so cool.
He is Clint Eastwood in space. He’s
always been my favourite - well,
since Empire, anyway - and was
the inspiration behind countless
badass characters since.”
www.andyfairhurstart.conn
[ 30 ] THE ART OF FILM: STAR WARS
Posters © Lucasfilm Ltd & Acme Archives/Bottleneck. All Rights Reserved.
THE ART OF FILM: STAR WARS [ 31 ]
A striking image of
X-Wing fighters based
on the recently released
Episode VII trailer
Andy's three official
posters for Acme Archives
and Bottleneck Gallery
feature distinctive
symmetrical compositions
[ 32 ] THE ART OF FILM: STAR WARS
CECILIA
GARCIA
Living in sunny Spain, the artist is drawn
to a jungle world of permanent storms
O alaga, on Spain’s
Costa Del Sol,
is renowned for
its year-round
sunshine. It’s
ironic, then, that
Malaga resident Cecilia Garcia, a
self-taught artist with a degree in
art history, is drawn to the Dark
Side and loves the rain.
Cecilia GF, as she signs herself,
is a freelance artist who aims to
work in the video games or film
industries. Inspired by the Dark
Side of the Force, she sought to
capture the impact of a character
within a brooding scene set in the
Expanded Universe’s Dromund
Kaas, capital of the Sith Empire.
“Given the fact that I’m a lover
of the Dark Side of the Force and
I love the rain,” Cecilia explains,
“Dromund Kaas came to my mind.
I thought of Korriban too but I
wanted to see how the light of the
lightsaber looks in the rain, so this
planet would be perfect. Besides,
Dromund Kaas seems to me a
special place that contains all of
that power of the Dark Side, with
ruins and fascinating creatures.”
Cecilia loves to explore the Star
Wars universe in her personal
paintings. Its sheer immensity
means it leaves itself open to the
imaginations of artists to add
their personal visions, says Cecilia:
“It’s an exceptional sci-fi universe
where George Lucas created a
base, and from that, anyone can
make it grow without the need
to be ‘canonical’.
“There are other universes that
are not free for interpretation,
but Star Wars is not like that,”
she elucidates. “The fan has total
freedom because there are no
restrictions - you can create cute
illustrations or a painting with
a dark theme. War scenes and
everything is okay, because Star
Wars contains all of them.”
www.bit.ly/Cecilia-Garcia
THE ART OF FILM: STAR WARS [ 33 ]
Cecilia GF takes advantage of the
scope of the Star Wars universe
to find the perfect setting for her
brooding Sith warrior: the Dark
Temple on Dromund Kaas
[ 34 ] THE ART OF FILM: STAR WARS
All images TM & © 2014 Lucasfilm Ltd. LLC. All rights reserved.
THE ART OF FILM: STAR WARS [ 35 ]
MALCOLM
TWEEN
From an illustration studio on the (relatively) sunny
south coast of England to a galaxy far, far away...
ournemouth, on
the south coast
of the British
Isles, is a seaside
resort best known
for its proxinnity
to the Jurassic Coast. It is also
home to Digital Progression, an
independent UK production studio
specialising in 3D/CGI, creative
retouching and post production,
where Malcolm Tween has created
artwork for Lucasfilm among a
diverse group of other clients.
What inspired your paintings?
Usually trying to come up with
something that’s not been done
before, also something that’s not
seen directly in the films.
Why does Star Wars keep driving
artists to create new work?
There’s a huge amount of source
material. It also helps that there’s
some of the greatest, most iconic
production design ever created.
Do you have a favourite Star Wars
artist who has inspired you?
Well, there’s a lot of fantastic
Star Wars stuff but I always liked
Noriyoshi Ohrai, John Berkey and
of course Ralph McQuarrie. Phil
Note’s work is always brilliant.
Can you tell us a little of how you
work? What is your process?
Usually it will start with a quick
Photoshop visual. For the final
image I’ll usually model a simple
version of any of the ships/
hardware in 3DS Max and use
this for the basic perspective
and lighting, then the rest is
painted in Photoshop.
Do you approach your personal
Star Wars work differently to
commissioned art?
Even on the work for Lucasfilm
there’s quite a lot of freedom, but
with some of the Star Wars work
it’s largely the only time I get
completely free rein.
What makes a great character like
Darth Vader or Luke work?
Great design and characterisation,
but also the legacy of Star Wars
Even if someone’s
never seen the films,
they are still aware
of the characters and
what they represent 33
over the years has elevated
everything into something much
more iconic. Even if someone’s
never seen the films, they are still
aware of the characters and what
they represent.
Are you a Star Wars fan?
Absolutely! As a child in the
’70s it was by far and away my
most important pop culture
influence! Don’t ask me about
the prequels, though...
So, how excited are you about
the new film?
Cautiously optimistic...
www.digitalprogression.co.uk
[36] THE ART OF FILM: STAR WARS
Malcolm's deep
affection for the
original trilogy
shines through
in his evocative
AT-AT and Noth
Evacuation
Celebration prints
THE ART OF FILM: STAR WARS [ 37 ]
Desert Sands
was offered as
an exclusive
print at Star Wars
Celebration 2015
Anaheim through
Dark Ink Art and
Acme Archives
[ 38 ] THE ART OF FILM: STAR WARS
THE ART OF FILM: STAR WARS [ 39 ]
GRANT
GOULD
The prolific artist of “many thousands” of
cards for Topps is still as big a fan as ever
The Legend of
Thrown was
Grant's limited-
edition print for
Celebration 201 5
hree years old
when the first
movie came
out, Grant still
remembers his
dad taking him to
see each movie on opening day,
and his parents would buy him the
action figures. “It was a massive
part of my childhood,” he recalls,
“and I’ve been a fan ever since. I’ve
been doing freelance Star Wars
work for both Topps and Lucasfilm
now for over ten years, everything
from cards to kids’ books to
comics, and I still to this day have
to occasionally pinch myself. I’m
living my childhood dream! Star
Wars still stirs something inside of
me. It’s my childhood mythology.
It’s a huge part of who I am.”
Star Wars has also been a large
part of Grant’s working life. “My
very first professional illustration
job was a sketch card gig in 2005,”
he explains, “drawing 1,000 sketch
cards for the Topps Star Wars:
Revenge of the Sith set. I was
probably in way over my head,
but it ended up being a crazy,
great jumpstart for my freelance
illustration career. It led to other,
bigger jobs, so the sleepless nights
were worth it.
“In the years following, I did
many more card sets, and many,
many more sketch cards,” Grant
continues. “I had a blast working
on the Clone Wars web-comics
for StarWars.com a few years
back, and I loved working on the
kids’ books Draw Clone Wars and
Draw Rebels for Klutz. I’ve been
so lucky in that I’ve worked on
several amazing Star Wars related
projects. Luckily, the Star Wars
universe has such a huge cast of
characters, it’s almost impossible
to run out of things to draw!”
Grant’s latest Celebration poster
features some core characters.
“I’ve always been a huge fan of
Timothy Zahn’s Thrawn Trilogy,”
the artist reveals. “When those
books came out in the early ’90s,
it marked the end of a Star Wars
dry spell. All my childhood heroes
were back - Luke and R2-D2 and
everyone else! It was momentous,
and of course Thrawn himself is
just the coolest villain. He was so
calm and intelligent and thoughtful
- very much the opposite of Vader.
So I thought it’d be cool to pay
tribute to those books, as well as
the graphic novel adaptations of
those books, which I also loved.
It’s essentially my love letter to
that series. The title The Legend of
Thrawn,” he concludes, “is sort of
a wink at the fact that now those
books are called ‘Legends’ - that
is, no longer canon.”
Grant is eloquent about his own
emotional attachment to all the
original characters. “I think for a lot
[ 40 ] THE ART OF FILM: STAR WARS
Grant drew 50
full-colour sketch
cards for the Star
Wars Masterwork
set for Topps
of kids, Han Solo was the first true
rebel or scoundrel that they got
to know, the bad boy who lived by
his own rules. Me, I was always a
Luke Skywalker kid. I loved Luke. I
felt a connection to Luke. He was
sorta the dorky farm boy in the
beginning, dreaming of bigger
things, and I was a nerd in school
who dreamt of bigger things.
And then I grew with Luke over
the course of the movies. We saw
real change and development in
those characters, and that’s what
really gives you that emotional
connection and investment.”
As an artist. Grant was inspired
by some of the X-Men artists of
the ’80s, such as Arthur Adams
and Marc Silvestri, plus Wendy and
Richard Pini’s ElfQuest series, and
also the artwork of the Dungeons
& Dragons RPG. His own standard
process for the past ten years, he
reveals, has been to draw each
piece by hand using pencil and
marker (“Faber-Gastell PITT brush
pens are my favourites”), then
scan the drawing in and colour it
digitally in Photoshop.
“I’m actually kind of a dinosaur,”
Grant laughs, “because up until
January of this year I still coloured
everything with a mouse. I finally
joined the 21st century and got a
Gintiq a few months ago, so I’ve
been teaching myself how to use
it. It’s still tricky for me getting
used to actually drawing digitally
instead of using pencil and pen,
but I’m enjoying it quite a bit. As
for sketch cards, which I used to
draw a lot of earlier in my career
but not so much in recent years.
I would colour those by hand
using Prismacolor or Faber-Gastell
colour markers.”
Unsurprisingly for such a fan.
Grant is looking forward to the
new film. Actually, he says, “I’m
beyond excited for the new film.
The idea of a new trilogy that
continues the stories of Luke and
Han and Leia - man, that’s just
amazing. I always had a sneaking
suspicion the new trilogy would
happen. I hoped it would happen.
I’m just excited about the whole
thing. And, yes,” he concludes,
“I have no doubt that the new
characters will be awesome and
grab our imaginations and inspire
artists new and old. It’s a fantastic
time to be a Star Wars fan!”
www.grantgould.blogspot.com
© Topps & Lucasfilm Ltd. All Rights Reserved.
[ 42 ] THE ART OF FILM: STAR WARS
DAVE
DORMAN
The acclaimed artist, whose work hangs
on George Lucas’s wall, still has regrets
O mazingly, this
striking Star Wars
artwork may have
prevented Eisner
award winning
illustrator Dave
Dorman from working on the films.
Although Dave loves working
on Star Wars stories and is rightly
proud of the work he’s produced,
you can’t help but sense a hint
of regret. You’d think an artist
as talented as Dave would have
been a great candidate to work on
Lucas’s productions as a concept
artist, but he’s never really been
considered for the job.
“One of the unfortunate
drawbacks in doing so much
licensed work is that I was
branded a commercial artist,’’ he
explains. “No matter how hard I
THE ART OF FILM: STAR WARS [ 43 ]
tried to bridge myself over to the
creative side - the filmmaking side
- of Lucasfilm, I found my way
blocked by how I was seen within
the organisation, based on the
work I had done for them.
“Now I’m not saying I was
unhappy with the licensed work -
far from it. I loved and still love the
Star Wars work I do, but it was a
bit disappointing not to be seen
as someone who could contribute
creatively to the world of the
filmed Star Wars epic.”
This hasn’t prevented the artist
from pursuing his love of Star
Wars, with commissions from Dark
Horse comics and a popular book
collection of his art. Star Wars: The
Art of Dave Dorman.
For the 20th anniversary of
the first Star Wars film, Dave
created three widescreen
paintings commemorating the
first three movies. The original
of this image is now in George
Lucas's private collection
www.davedorman.com
All images © 1994-2009 Dave Dorman. Lucasfilm Ltd. All Rights Reserved.
[ 44 ] THE ART OF FILM: STAR WARS
"The whole image is
rendered in pencil, giving me
all the information I need to
paint. It's then transferred
to my gessoed illustration
board for painting," Dave
says of his preliminary work
THE ART OF FILM: STAR WARS [ 45 ]
One of Dave's favourite
Star Wars pieces was for
a limited edition print for
Star Wars Celebration 4
[ 46 ] THE ART OF FILM: STAR WARS
CHRISTIAN
WAGGONER
The artist talks about his unique perspective on
character portraits that reflect memorable scenes
O hristian Waggoner has earned a
reputation for his incredible portraits of
the most famous Star Wars characters
in unique compositions, but how do
they come about? “The way I decide
on composition and concept for a Star
Wars painting is by the character,” he explains. “What
kind of features do they have? How big are the eyes?
Do I need to zoom in or zoom out on the piece?”
Christian’s process begins with a concept, which is
then submitted to Lucasfilm for approval. “The most
challenging Star Wars piece I’ve painted is Greedo,” he
adds, “just for all the scales and the intricacies of his
face. But the funnest painting would be R2D2 - it just
came together so fast, so easy... effortless!”
So what does Christian believe makes a good
character design? “What I think makes a good
space character design is movement in the mask,
the intricate play of light and darkness,” he says. “Or
sometimes it’s the ruggedness of someone like the
Boba Fett character - sometimes it’s how cool the
character is that makes your design even better.”
Christian’s relationship with Lucasfilm began in
2007 at the New York Art Expo, where he was named
one of the emerging trend-setting artists of the show.
“People from Lucasfilm approached me and asked me
if I would like to do a 30th anniversary piece of Darth
Vader,” explains the artist. “I was more than excited, as
it came on my 36th birthday. When I did the first piece
I thought it was a one-shot deal, but the Vader piece
went over so well they asked me to do another one,
then another one and another one.”
Christian says he believes the Star Wars universe is
still so popular because “all ages can relate: good and
bad... Good overcomes evil...”
With the new movie coming, Christian is propping
to create new Star Wars paintings. “J.J. Abrams made
all the characters better and even brought new ones
in,” says Christian. “I love seeing how the helmets will
evolve through time, so I can basically redo all my
characters and have a second calendar come out.
Cld meets new.”
www.christianwaggonerartist.conn
THE ART OF FILM: STAR WARS [ 47 ]
All images © Lucasfilm Ltd. All Rights Reserved.
[ 48 ] THE ART OF FILM: STAR WARS
DOUG
COWAN
A painter of landscapes and
cards brings the two together
© hen the opportunity came to do a
new Star Wars painting, Doug Cowan
reveals, “I knew immediately that I
wanted to do an image that was new
but still familiar. I recalled Frank Tenney
Johnson’s nocturnal paintings of the
American West, and I felt that his depiction of life on
the frontier shared a mood that I was searching for.
Those paintings, along with Remington’s later works,
portrayed many qualities that could be transposed
successfully into the world of Star Wars. I depicted my
own version of a rider on horseback, but this time as a
Stormtrooper deployed on the edge of the universe.”
What is it about Star Wars that inspires artists to
keep creating new work?
Star Wars is a captivating story, and the world it
takes place in is varied and elaborate. There are many
characters, stories, and settings to explore in what
seems like an infinite number of ways. Each artist
is able to approach these things from their unique
perspective. Behind all of this is a lot of great artwork
THE ART OF FILM: STAR WARS [ 49 ]
and design done during the creation of it that also
captures your imagination.
Do you have a favourite Star Wars artist or poster
artist who has inspired you?
It’s difficult to select an individual because there have
been so many good artists who have worked on Star
Wars. They come from diverse backgrounds too -
comics, illustration, preproduction, fine art, among
many others. Kazuhiko Sano’s poster artwork for
Return of the Jedi has appealed to me since I was
very young and may be the earliest memory I have
of Star Wars art.
Can you tell us a little about how you work? What is
your process?
I paint oil on linen or panel, depending on the needs
of each picture. I often do a small series of sketches in
ink or watercolour until I have a refined idea of what
I want to pursue. For my Outpost painting, I also did
a scaled-down study in oil to address the colour and
work out any details that I was still debating. When
I depicted my own version of a
frontier rider on horseback with
the mood of the American West 99
the time came to do the larger, final artwork, I blocked
in the main elements of the composition with loose
brushwork. When I felt everything was in place, I
began painting in a very direct manner. I like to start
with a portrait or critical area to guide me and give me
confidence throughout the rest of the painting.
Do you approach your personal Star Wars work
differently to commissioned art?
I approach all my paintings the same now, be it Star
Wars or not, because I feel that this will allow me to do
my best work and to employ the traits unique to me.
If there is a difference between my Star Wars art and
my other work, it will be during the sketching phase.
I begin many of my other paintings without many or
Topps & Lucasfilm Ltd. All Rights Reserved.
THE ART OF FILM: STAR WARS [ 51
"Topps asked
me to reimagine
the classic
film poster art
for Star Wars
Illustrated:
The Empire
Strikes Back"
Bounty Hunter
was created in
oils on panel for
Acme Archives
r f J
any sketches, but because most of my Star Wars art
will be used by a client it is often necessary to convey
an idea beforehand.
«The more understanding I can
acquire of a subject or setting will
What makes great characters like Darth Vader or the
Stormtroopers work?
I think it begins with how they are portrayed and fit
into the story. These characters have lasted so long
probably due to them being fascinating on several
different levels. Darth Vader holds your attention
and curiosity as a character, but also his appearance,
sound, and even his musical themes contribute to his
lasting legacy. Visually, he is a bold character to put
into your artwork and has been the focus of many
great works. This is true for many of the characters
in Star Wars.
Are you a Star Wars fan?
I am a Star Wars fan and there has never been a
time without it, having grown up after Return of the
Jedi. I think being a fan has benefited me in that I
can approach Star Wars subjects from an informed
perspective, aware of the history and many subtleties
found in the characters and locales.
Is it difficult painting imagined characters and
scenes? How to you give them believability?
Every painting will have its own challenges whether
you’re working from life or imagination. I like to gather
reference for as much as I can, even if it is not directly
help me make better choices J J
used. The more knowledge or understanding that I
can acquire of the subject or setting will help me to
make better choices. With Star Wars, I don’t really
have access to models or props, so the most difficult
part is usually piecing all these elements from different
sources together in what seems like a seamless image.
Do you have any future projects you can reveal?
There are several upcoming trading card projects
that I will likely contribute new artwork to, as well as
an opportunity to create some limited-edition prints
for both Star Wars and other properties. There is also
another Star Wars Celebration on the horizon. I am
busy continually painting on my own as well.
Finally, how excited are you about the new film?
I’m eager to see where this new and unknown story
will take us, and how it will involve our beloved
characters since we last saw them in Episode VI. The
all-new worlds, costumes, ships will be a thrill to see.
It is a very exciting time to be an admirer of Star Wars.
www.dougcowan.net
[ 52 ] THE ART OF FILM: STAR WARS
IAIN
McCAIG
The senior concept artist of Episodes I,
II and III designed the iconic Darth Maul
oncept artist lain McCaig’s work
includes the landmark designs for
Queen Amidala and Darth Maul, as well
as work on Terminator 2, Harry Potter
and the Goblet of Fire, and much more,
lain considers Darth Vader’s design “a
work of genius”. However, the prequel universe had
to have a different design sensibility: a hand-made
universe that would soon be destroyed by the
machine-like Empire. So while Darth Vader’s look
inspired Iain’s work on The Phantom Menace, it wasn’t
a direct influence as the artist sought to find a new
look for the prequels. “I think George was surprised
by the new look,” says lain. “Mid-way through The
Phantom Menace I remember him looking at all the
designs and exclaiming: ‘My God, I’m making a
costume drama!”’ Read how lain created Darth Maul...
What did George Lucas ask you to do in Darth Maul?
Darth Maul was a four-year project. In the beginning
all George said was that he was a new Sith Lord, and
I spent frustrating years trying to out-helmet Darth
Vader. Eventually, I took the helmet off and started
turning members of the Star Wars art department into
Sith lords, carving up the face of our photographer,
putting a light inside his head, embedding a circuit
board on the face of our head of animatics, and so on.
'P* -r *— !
M A U J-
1 fO C-j ^ J lA AVf
^ ^ A/ A.')
-A }.np
’r Kter+C-».
fvsce.
HU.SSE’ 15'
A recent painting that was
®7rGxperimental from the first
P.| steps. I wanted this to be
the first in a series of Jedi \
really didn't -
know if the techniques I was
using would translate. It's
® \16x24 inches, charcoal and
acrylic on MDF board"
[ 116 ] THE ART OF FILM: STAR WARS
Rogue Leader - given a
blank canvas and the entire
Star Wars universe, Dave
chose to capture a Luke
Skywalker moment of glory
© Del Rey & Lucasfilm Ltd. All Rights Reserved.
THE ART OF FILM: STAR WARS [ 117 ]
DAVE
SEELEY
The favourite book cover illustrator talks
about his love of the Star Wars universe
O ifelong Star Wars
fan Dave Seeley
can still vividly
rennember the
moment that
the film series
impacted on his life. “I can still
feel that guttural rumble from
back in 1977, when that glorious
Star Destroyer cruised into view,
leaving a profound impression
on my teenage brain,” he tells
us. “I’d never seen anything to
compare, and I was instantly
hooked. The worlds, the pace,
the characters, the drama - all
seared into my psyche. Star Wars
was the first time I’d been able to
immerse myself in a science fiction
paradigm and take it entirely
seriously. No nod and a wink, no
farce, no suspension of disbelief.
Star Wars shaped my interest and
defined an aesthetic direction for
my work.”
It’s fitting that Dave has built a
career creating immaculate book
covers for the Star Wars extended
universe, commissioned by Dave
Stevenson at Del Rey Books. Dave
Seeley cold-called the art director,
who as it happened was a fan, and
the work followed. As Dave Seeley
tells it: “I picked up the phone and
left Dave a message about coming
in to see him. A short while later
he phoned back: ‘Sure, come on in.
I’ve got a job for you.’ Wow. And
that was the start of my work on
Star Wars.”
Dave’s first book jacket was for
the novel Rebel Dream by Aaron
Allston, featuring Wedge Antilles
in the cockpit of his X-wing fighter.
The artist began researching the
characters and vehicles but, at the
time, neither had a clearly defined,
consistent look (with few images
of actor Denis Lawson, who
played eventual cult-hero Wedge).
“The character appeared in
relatively few frames in the film
and was usually helmeted. The
X-wing exterior was featured
heavily in the film, but views
within the cockpit were most
always front-on. So what did it
look like off to one side? I was
able to invent some aspects of
the control panels, and I also used
Department of Defense photos
of real fighter plane cockpits for
ideas of what to show. It seemed
important to expand on what we
already knew about Wedge and
his X-wing, and I was eager to add
to the Star Wars canon.
“When I was commissioned to
create the cover for the second
book in Aaron’s duology, titled
Rebel Stand, I chose to create a
view from inside the Falcon that
we hadn’t seen in the films. At
this time, 3D software was still in
a fledgling state and not yet the
tool that I’d choose for this kind
Star Wars: Jedi
Healer - most of
Dave's work for the
Star Wars franchise
has been for the
Expanded Universe
Del Rey & Lucasfilm Ltd. All Rights Reserved.
THE ART OF FILM: STAR WARS [ 119 ]
Dave's stunning
piece called
Galactic Conquest
captures the epic
scale of the films
of thing. Instead, I worked with a
plastic nnodel kit of the Falcon and
invented nny own crazy interior
perspective, with a view out to the
ship’s nose. That was a view that
we hadn’t ever seen in the films.”
Moving forward, Dave has
become a regular artist for Star
Wars and its conventions. When
he was invited to Celebration IV
in Los Angeles, to mark the 30th
anniversary of Star Wars Episode
So much of the genre owes
so much to Star Wars. It still has a
freshness almost 40 years later J5
IV: A New Hope, he knew which
character he would paint for the
show: Luke Skywalker.
“For me, the coolest aspect
of Luke in the movies was his
incarnation as an ace fighter pilot.
I decided to show Luke in the
period following the conclusion
of Return of the Jedi, when he and
his Rogue Squadron of X-wing
fighters take on the job of rooting
out the entrenched Empire from
the galaxy. Prior to the convention,
I emailed the finished image, called
Rogue Leader, to Dave Stevenson,
thinking that he should have first
crack at using it, given that he
was the reason I was working in
the Star Wars universe in the first
place. Dave immediately emailed
me back saying he thought he
might have the perfect book for
it, which turned out to be Luke
Skywalker and the Shadows of
Hinder.
“When Lucasfilm announced it
as the cover image, fans on the
message boards seemed pretty
stoked, except for those who were
disappointed that the villain of the
book. Lord Shadowspawn, wasn’t
on the cover. I picked up the
phone and gave Dave another call.
What if we flipped our point of
view 180 degrees when we flipped
the book over, and saw what
Luke saw: Lord Shadowspawn,
an instant before their sabers
collided? Dave loved the idea and
commissioned the painting...
“I found it particularly satisfying
to flesh out this spectacular villain.
Shadowspawn was a character
who had not yet been seen in
any detail, so I was able to design
him with some degree of latitude.
I went for a Revolutionary War
general/pirate/ninja combination,
but the finishing touch was Dave
Stevenson’s suggestion to add his
white facial tattoo.”
The Star Wars universe has
continued to be a source of
inspiration to Dave. “It defined
my early aesthetic vision for
science fiction,” he says, adding:
“What’s more, the prequel trilogy
was neatly aimed at my son’s
generation, so I was able to live
those movies and relive the
original movies through his eyes
during the creation of my Star
Wars illustrations. While I’m very
glad I’ve been able to enjoy a wide
variety of projects in my career.
I’m thrilled to have been a part of
creating the Star Wars universe.”
This universe, says Dave, tapped
into a common interest in sci-fi
and fantasy, representing the
genre in away anyone can access.
“Lucasfilm then assembled a
raft of talent that expanded the
universe in a truly compelling
visual way. So much of the genre
owes so much to Star Wars. The
design work was original rather
than referential, so it still has a
freshness almost 40 years later.”
Dave continues to work on new
Star Wars projects. A book titled
The Art of Dave Seeley is due for
release in September 2015 and
features a chapter on his Star
Wars work. Plus, there’s always his
Star Wars: Episode VII artwork to
look forward to: “I did do a bunch
of images related to the new film,
but as far as revealing them is
concerned... ‘I could tell ya, but I’d
have to kill ya!”’
www.daveseeley.com
[ 120 ] THE ART OF FILM: STAR WARS
Shaakti, a Jedi master
for Star Wars: Episode
II. Dermot's drawing
includes a credit to art
director lain McCaig
Space Jockey, a generic
spaceman design for
Star Wars: Episode II
a DERMOT
POWER
Concept artist Dermot Power’s
work on Star Wars Episode II
wasn’t exactly a trial by fire, but
the sheer number of costume
designs involved, plus the sanctity
of the “brand,” certainly made for
an interesting process.
“There are the earlier movies
to go from, of course, but also
George Lucas doesn’t like his
designers to just make stuff up,”
explains Dermot. “He likes to see
history in the designs even if it is
for a fictional world.”
Thus, for research purposes,
Dermot and the team pored over
copies of National Geographic and
books by Taschen on indigenous
cultures, as well as editions of
Vogue from the 1920s and 30s.
“lain McCaig was fantastic at
that, and I learned a lot from him,
particularly the habit of lateral
thinking,” Dermot adds. “Seeing
a beaded necklace on a Masai
tribeswoman and using it for a
Coruscant dweller’s coat, that
type of thing.”
One technique the art team
used was to take a book, flip
through its pages, and grant
themselves mere seven seconds
a page to study it before
making sketches from the brief
information. “It’s a great way of
loading your brain with lines and
shapes,” he explains, “though it
was exhausting keeping up with
lain because he can actually get
a lot down in seven seconds!”
www.dernnotpower.com
All images © Lucasfilm Ltd. All Rights Reserved.
ALEXANDRE
CHARLEUX
With a passion brewing following the announcement
of the new Star Wars episodes, graphic artist
Alexandre Charleux decided to treat himself to some
free time to create artwork inspired by the movies.
“I wanted to draw a character that I believe is the
essence of Star Wars - the iconic figure of a Sith,” he
explains. “I think the Star Wars identity lies much more
in the dramatic writing and building of the characters
than the visual effects or the (great) environments.”
Unbelievably, Alexandre put this striking piece
together in under an hour. “I didn’t look at the
concept artworks of the many Star Wars movies
and games that have been made much, but I’ve
always enjoyed Ryan Church and Feng Zhu’s
environment designs,” he comments. “Still, one artist
that always inspires me in regards to the identity
he gave to many cult movies throughout his career,
including Star Wars, is Drew Struzan. While my work
is not a literal translation of his, I find inspiration in his
mastery of composition, lighting and dramatic figures.
In many cases he didn’t do a poster of a movie: the
poster is the movie.”
For his own piece, Alexandre went with his
instincts. “I wanted to be quick, to keep the
dynamism and energy of the original intention,” he
says. “So I looked into the pictures of a photo shoot
I did a couple of years ago with a model for another
project and started to explore the design, painting
on top of a sketch I made from those. I kept a very
undefined silhouette as long as possible in the
process to let me reinterpret it at will, using the
strong contrast to let the shadows only suggest the
things I want out of focus, but still feel there. The
process was very instinctive.”
Following his creative instincts and staying relaxed
works well for the artist. “I usually approach any
personal work with a different attitude than any
studio-related or client work,” he explains. “The
workflow is the same, but I find myself much more
laid back when I’m my only client, and it allows me
to experiment a bit more and feel more efficient. Still,
with personal work I tend to end up in my comfort
zone, while each new client work is a challenge
I need and embrace to work outside of my skill set.”
www.eyellusive.com
[ 122 ] THE ART OF FILM: STAR WARS
THE ART OF FILM: STAR WARS [ 123 ]
CAT
STAGGS
The comics artist talks about her
series of propaganda posters
Above: the prelim for the
third in Cafs propaganda
poster series (opposite)
O robably best
known for her art
for DC Comics
and on Star Trek
for IDW, Cat has
also created Star
Wars cards for Lucasfilm since
2004 and a series of distinctive
Celebrations posters (six so far) in
the style of wartime posters. “I am
a big fan of propaganda art from
the ’40s/’ she explains. “I thought
it would be fun to combine them
with the war aspect of the Star
Wars films. Playing with the
juxtaposition of the vintage with
the future was a very appealing
challenge for me.”
Why does Star Wars keep driving
artists to create new work?
I can’t answer for anyone but
myself. For me, there are so many
worlds, people and creatures to
play with, it almost feels like an
endless playground of inspiration.
40 years’ worth of material, and
now we are adding new elements.
It is incredibly exciting.
Do you have a favourite poster
artist who has inspired you?
I’m a big fan of design and
layout, and the movie posters
of the ’50s-’70s are some of my
favourites. Artist like Bob Peak
and Robert McGinnis were
standouts for me, as well as
illustrators from the ’30s-’40s-
’50s like Rockwell, Leyendecker,
Maguire, and so many more from
that era.
Can you tell us a little of how you
work? What is your process?
It tend to be very research
intensive before I even put
pencil to paper, especially for
these propaganda pieces. I want
to make sure they convey the
I want to convey
the emotion of the
moment as well as a
vintage feel and inject a
little humour if I can 5 J
emotion of the moment as well
as the vintage feel of the era. I
am also a fan of injecting a little
humour if I can. I can spend
weeks working out the piece in
my head before I ever get started
on the illustration.
Is it hard to find a unique take on
such familiar characters?
No. Because the world of Star
Wars is so vast and so developed
but we have seen only so much.
it leaves the door wide open, to a
degree, for taking the characters
to the unseen moments.
What makes a great character like
those in Star Wars work?
They are incredibly relatable
and not so far removed that the
audience cannot connect with
them. Even a two-ton space slug
had our attention!
Are you a Star Wars fan?
From the moment that Star
Destroyer flew over my head
in 1977.
Do you have a favourite Star Wars
poster or image that you’ve done?
That is a hard question. I like them
all for various reasons. Do I look
back on older pieces and wish the
execution was better? Sure, but I
still like what was created. I will say
though that the propaganda series
has been the most fun, and I look
forward to working on new pieces.
Do you have any future projects
you can reveal - any new posters
or clothing designs?
Nothing I can talk about just yet.
Finally, how excited are you about
the new film?
Extremely!
www.catstaggs.com
[ 124 ] THE ART OF FILM: STAR WARS
A display of Cat's versatility,
from a convention badge
in the style of a pulp novel
cover to her Obi-Wan Kenobi
Clone Wars trading card
artwork for Topps, plus
(top left) a study sketch
THE ART OF FILM: STAR WARS [ 125 ]
Spirit of 'll was the first
of Caf s propaganda poster
series. Top right is the
prelim, then anti-clockwise
some progress shots of the
final marker rendering, and
at right the final poster
This is Luke Skywalker* He just destroyed
an Imperial battle station the size of a small
moon In an Incom T-05 X-wIng space superiority
fighter, with a downed astromech automaton.
Where did he learn these amazing skills?
In
Join Today! Fly Tomorrow! Fight ForoverU
Ui) This is Luka Skywalkar. He just destroyed ^
art Imperial battle station the size of a small
moon in an Incom T-6S X-wing space superiority
fighter, with a damaged astromech automaton.
Where did he learn these amazing skills?
Join Todayl Fly Tomorrowl Fight Forever/!
‘snm Of ir
[ 126 ] THE ART OF FILM: STAR WARS
± SIMON
GOINARD
Even with clients ranging from Disney to
Aston Martin, Simon paints a pitch piece
THE ART OF FILM: STAR WARS [ 127 ]
Simon titled this
striking piece
"Apprentice" but
it clearly reflects
his expertise as
an illustrator and
concept artist
rench-born concept artist and
production illustrator Sinnon Goinard
has always loved Ralph McQuarrie’s
work on the original Star Wars trilogy
“not only because it’s beautiful and
inventive, but because it helped a lot
to sell the concept of the first film too.” For him, he
says, “it’s the perfect example of what pitch design
should be, so I just wanted to bring back that feel with
a piece, trying to cross a Star Wars pitch piece with a
bit of McQuarrie and a bit of my moody style.”
Did you try anything new on this painting?
Technically speaking no, it’s just my usual approach
to personal pieces. I just kind of paint and think at the
same time. I knew the feel I wanted in the end, but still
a lot of things evolved - the Jedi became a Sith; the
scene focus changed too, with more protagonists, etc.
What was the aim or mood you were looking for in
the image?
It was designed to be a pitch piece, so it had to be
dynamic and represent the essence of the films -
galactic wars and the fight between good and bad,
pretty clear intents. And then I tried to bring in that
Greek tragedy feeling too, with the [character’s] robes
for example, or the fact that the main character seems
to be breaking the fourth wall and looking at us like
we’re an audience in a theatre.
What is it about Star Wars that inspired this?
I’m a huge fan of the mid 70s, I must say. The sci-fi
feel in society, the music, the design was pretty
awesome. Star Wars is part of that too - that’s what
I like about it: all these ideas are combined in this
cultural phenomenon that is the movie.
It feels like this is a very romanticised vision of
Star Wars. Was this intentional?
Yes, totally. Again like a Greek myth. Star Wars is
pretty romanticised itself, and as I intended the piece
to be pitch work it had to be too!
www.simongoinard.com
128 ] THE ART OF FILM: STAR WARS
Darth Maul
actor Ray Park
actually posed
for Sith Rocks
THE ART OF FILM: STAR WARS [ 129 ]
RANDY
MARTINEZ
First noticed for his hunnorous work, the
artist revels in the scope of Star Wars...
© hen asked what it
is that inspires his
interpretations of
Star Wars, Randy
Martinez replies
“My nnennories. I
was three when Star Wars came
out in 1977. I remember going, but
not a whole lot of the film, nothing
clear anyway. But the imagery
stuck with me. I was fascinated.
With my Star Wars art, I try to
bring that same excitement and
magic that I felt when I was a kid.
As adults we become a lot more
cynical because life just tends to
do that to you. But as children, life
is just fun and all about wonder
and imagination. So when I paint,
I want to relive those feelings over
and over again. Hopefully, the
finished product gives the viewer
the same experience.
Why does Star Wars keep driving
artists to create new work?
You mean besides a paycheck?
You know every artist would give
you a different answer, and that’s
kind of what makes Star Wars so
special. There’s so much room to
be creative and apply your style
or ideas to the art. Star Wars has
action, adventure, romance,
fantasy and just about every
other genre there is, even Greek
There’s so much
room to he creative and
add your ideas. In Star
Wars there’s something
for everyone 33
mythology. So, in Star Wars
there seems to be something for
everyone. I like to believe most
artists create from within, and they
create what they are connected to.
Star Wars is a huge part of our
culture, and most fans, no matter
what age, have grown up with Star
Wars in their lives in some way. So,
it is very easy to feel connected to
Star Wars in some way.
What comes first, a character or a
concept (Darth Maul rockin’ out)?
For me, the concept definitely
comes first. I like to tell stories or
make statements with my art. It’s
not enough for me to just draw
Boba Fett just standing there
with his gun. That is really boring.
I want to say something and
provide an emotion.
There are limitless ways to do
that, and I’m always coming up
with things to say, jokes to tell,
or ideas to share. So say with Sith
Rocks with Darth Maul rocking
out, I actually came up with the
idea to do an homage to one of
my favourite Star Wars illustrations
ever, Star Wars Rocks by Hugh
Flemming. I am a musician as well,
so I loved this piece, and I always
wanted to do something in the
same mashup idea of Star Wars
and rock-’n’-roll. However, I wanted
to put my own spin to it and put in
a lot of jokes and gags. I am huge
Mad magazine fan from way back,
so I am often inspired by the likes
of Jack Davis, Mort Drucker and
Sergio Aragonez. I knew I wanted
[ 130 ] THE ART OF FILM: STAR WARS
Randy is a great
fan of mixed
media - yes,
that background
behind Leia really
is some old comic
book pages
to do something exciting, so I
thought of the Kiss rock shows,
and I automatically thought,
wow, “Kiss” sounds like “Sith”.
From there it was just a matter of
putting the right personality with
the right instrument. Darth Maul
would totally be a lead guitarist.
It helped that I am friends with
Darth Maul actor Ray Park, so he
was kind enough to pose for me!
Tell us a bit about how you work.
I don’t really have a set process.
Every piece of art is different,
depending on what the art will
be used for. I use just about every
medium there is, depending on
the job, and that is a large factor
in how I will approach the art.
I sketch, I work in the computer,
I sketch more, then get to the
painting, but sometimes I start
prepping while I’m sketching. I’m
all over the place.
How does Lucas react to some of
your humour paintings?
They love it. Doing Star Wars
humour is how I got started
making official Star Wars art, 16
years ago, so they are very used
to my style of humour. Lucasfilm
knows I can paint them a super
tight illustration or do something
funny, which has been good for
me. Steve Sansweet once called
me “The swiss army knife of Star
Wars artists,” and that title has
kind of stayed with me.
I love when Lucasfilm lets me
be funny with Star Wars because
there is so much to be funny with.
Star Wars is an endless supply of
jokes and gags!
How are the Legacy paintings
created? Do you have a favourite?
The Legacy is very dear to my
heart because it was kind of a
turning point in my career. I had
reached a point where I was bored
with just drawing and painting.
So I started to collage real
comic books, and then I started
painting over that. I really liked the
newsprint and the comic book ink
as my backdrop. It’s a lot more
than just cutting up old comics
and placing them anywhere - I
really take my time to not only
build a solid colour composition,
but also to sort of tell a story or
create a mood.
I have created about 25 of these
pieces of Marvel, DC, and Star
Wars characters. Right now, only
the Marvel pieces are available
as prints: Spider-Man, Iron Man
and Captain America. It’s hard to
pick a favourite; they all have a
different experience for me.
Are you a Star Wars fan?
Absolutely, I’m an Original fan.
I saw all three movies in the
theatres when they came out. I’ve
collected Star Wars toys, cards.
THE ART OF FILM: STAR WARS [ 131 ]
Randy has
depicted
probably every
Episode and
beyond, but the
original trilogy
remains his
favourite
art, everything. And while I don’t
collect anything anymore, I still
love to look at and play with Star
Wars toys.
It’s been a dream come true
to actually be part of Star Wars,
doing official art for Lucasfilm
for 16 years. It’s still a wow for me,
even just saying that. I’m very
fortunate to have the opportunity
to make my living creating art of
one of my favourite things ever.
I’m honoured and it’s the greatest
experience I’ve ever had.
Do you have a favourite Star Wars
painting or project you’ve done?
No favourites. Every piece is
a different experience. I put
everything into each painting -
where I am in life, how I feel, and
what is inspiring me at the time.
Each piece is like my own little
time capsule. Lucasfilm has given
me so many opportunities to
create big, very important pieces
of art, it would be impossible to
pick just one as my favourite. But,
I will tell you that one of the most
special pieces I created was the
key art for Star Wars Celebration
Europe in 2007, better known
as Sgt. Lucas. It’s one of the few
3D sculptures I have ever done,
so it was a challenge. Two of my
favourite things in life is Star Wars
and the Beatles, so to be able to
mash the two up was pure joy!
What made creating this piece
so special was that my girlfriend
(Star Wars artist Denise Vasquez)
and my Mom helped me create
this piece. I love collaborative
art, and it was fun sharing this
experience with my family.
Which is the hardest character to
get “just right”?
None. I don’t mean that in an
arrogant way at all. Nothing in this
world is hard to create because
of the hard work I have put in on
Anybody can learn to
draw or paint anything,
but you have to be
willing to put in the
time and the work 39
my fundamentals. I’ve had great
instructors and mentors in art, and
they have helped me understand
how to paint and draw anything
in this world or that I can imagine.
The truth is anybody can learn to
draw or paint anything, but you
have to be willing to put in the
time and the work. Art is a lifelong
journey that you can never master.
It is not about getting something
“just right’’ in terms of there being
right or wrong, it’s about getting
it just the way you want to paint
it or draw it as an artist. It’s taken
me 41 years to get where I am in
my journey. The challenges come
from deadlines. Can you create
quality art in the time you are
given? Sometimes I get jobs where
I only have a few days to complete
it. That’s tough, because I have
to create art in a short time that
looks just as good as a piece I’ve
had months to work on.
Have the new trailers inspired
you? Can we expect a “Chewie,
we’re home” illustration?
You know, I have seen the trailers,
and they are very exciting. But
the latest and most exciting
trailer came out at Star Wars
Celebration, where I was running
my booth. There has been so
much going on selling art, making
contacts and doing interviews that
I have not really had time to let it
all sink in.
With that said, I have some
ideas, but I want to first get to
know some of the new characters
better and formulate something I
want to say or express through the
art. At the same time, I also just
want to enjoy it as a fan. Because
that’s where it all starts!
www.randymartinez.net
[ 132 ] THE ART OF FILM: STAR WARS
ANDREW
MARCH
You don’t suppose his surname explains
Andrew’s aptitude for walkers, do you...?
ir Jr
THE ART OF FILM: STAR WARS [ 133 ]
O ndrew March is
a professional
artist who works
in both 3D and
2D software,
and although he
describes himself as a hobbyist,
he has freelanced for some
lighting and animation projects
- experience that came the fore
when he was creating his inspired
scene of AT- AT Walkers.
“I remember seeing them in
the cinema when Empire Strikes
Back was first released and just
thinking how intimidating they
were. I wanted to try and recreate
that feeling,” says Andrew, who
goes on to reveal that the image
had its challenges: “I guess it’s
creating a sense that you are
looking at a lumbering metal giant
- portraying that sense of scale
and weight can be difficult.”
Andrew’s image began as 2D
sketches, then he took these ideas
into Lightwave 3D for surfacing,
lighting, landscaping, and setting
up the models... “and it’s at this
point that the original sketch goes
out the window and the 3D scene
takes on a life of its own,” he
laughs. “Then it’s rendering, and
finally it’s Photoshop for a little
post work. Ha, sounds easy when
I say it like that!”
www.andrewmarch.artstation.com
[ 134 ] THE ART OF FILM: STAR WARS
features all three of her
favourite characters - Am idala,
Leia and (subtly) R2-D2
THE ART OF FILM: STAR WARS [ 135 ]
Karen's Art
Nouveau Leia
poster brought
her to notice
and remains one
of her personal
favourites
KAREN
HALLION
AUK°ALDEBAAn
>
Her website describes her as “artist,
illustrator, and part-time Jedi...”
elf-confessed
“pretty geeky
artist” Karen
Hallion reveals that
it wasn’t until she
was 16 and saw
the movie The Little Mermaid that
she became interested in being an
artist. “I walked out of the theatre
and thought ‘I want to do that’,”
she recalls. “I went to Ringling
School of Art and Design in
Sarasota, Florida, and graduated
with a BFA in Illustration. I spent
years trying get an art-related job
or freelance, and failed miserably.
One thing led to another and I
wound up as an art teacher for
two elementary schools, teaching
grades Kindergarten to Fifth. I
loved it - it was fantastic. Lots of
glitter and watercolours and pipe
cleaners. But I lost my job in 2009
and decided to give an art career
another shot. It was kind of a sink
or swim moment for me... and I am
still swimming. Knock on wood!”
Where did the idea come from to
mix Star Wars and Mucha?
I had a print of La Dame Aux
Camelias by Mucha hanging
over my desk for years. I love
Alphonse Mucha - I am in awe
of his linework. This particular
print always reminded me of Leia,
and I thought it would be fun to
do an homage to it with a Star
Wars twist. Leia is such a strong
character, always in the front and
in charge. I wanted to show her
in a more quiet, pensive moment.
Also, combining Art Nouveau and
pop culture can be so much fun
- there are so many ways to hide
little details in the illustrations.
How long does a piece like La
Dauphine Aux Alderaan take?
Well, that one was back when I
didn’t have a tablet. I had a laptop
with a touchpad and very basic
Photoshop skills. I drew it out on
paper with pencil, scanned it in,
then did the lines and colour in
Photoshop. Took me forever.
40-50 hours, maybe? Now I have
a Cintiq, and my Photoshop skills
are better. Something like that
would take me more like 20-25
hours these days - partly because
of the Cintiq making work move
more swiftly, partly because I
know my way around Photoshop
now, and mostly because I’ve been
drawing so much the last five
years, it comes a lot more naturally
these days. Sometimes, someone
will say to me “You make it look
so easy!” But it was 20 years of
struggle and stubbornness to get
there, and there are still days when
a drawing just won’t cooperate.
Can you tell us a little about your
workflow and creative process?
a Combining Art Nouveau with
pop culture is fun, and there are so
many ways to hide little details J J
Usually I start with a very
rough, flowy, loose sketch with
a blue coloured pencil brush in
Photoshop. Then I reduce the
opacity, add another layer and
sketch again, fixing issues with
proportion, adding little bits of
detail but skill keeping it pretty
rough. Then, reduce opacity, add
another layer, and keep doing
that for a while until I’m happy
with how it looks. Next, I “ink” it
digitally. I usually go over all the
lines first with about the same
line weight. Then I go back and
[136] THE ART OF FILM: STAR WARS
Karen's painting
Leia's Corruptible
Mortal State riffs
off the Disney
Haunted Mansion
Tightrope Girl
In general, I struggle with drawing
men. I don’t know why, but drawing
women comes much easier to me 55
add a heavier line around the big
basic shapes, a very Alphonse
Mucha type thing to do. Then I
really zoonn in and add subtle
line weight, some curves where
two lines might meet, smoothing
things out. I spend a lot of time
on the line, really. Then I start
laying in big basic colour, keeping
everything on different layers
so they are easy to play around
with and find the right colour
combinations. And finally, I add
shading, highlights, etc. Trying to
figure out when and if it’s actually
done is always the hardest part,
knowing when to stop!
What have been the biggest
influences on your art?
Definitely Disney, in particular
Glen Keane. The flow of his art,
the movement, what he is able to
express in just a few gestures -
it’s inspiring. Obviously Alphonse
Mucha for his line and beautiful
Art Nouveau backgrounds. I love
Charles Dana Gibson, also for his
linework. I am a big ol’ pop-culture
geek, and I draw what I love. So,
what I read, watch or listen to
usually makes its way into my
work. A lot of the more popular
things like Star Wars or Doctor
Who, but also I love doing a little
more obscure designs. I recently
did an illustration of Dottie from
League of their Own, and it was
such fun to have so many fans
get excited about that and start
posting quotes on my page.
Actually, I have a quote from
that movie hanging over my
desk, because I feel like it is so
fitting for art: “It’s supposed to
be hard. If it wasn’t hard, everyone
would do it. The hard is what
makes it great.’’
Do you have a favourite Star Wars
character and why?
My favorite character to draw
would be Oueen Amidala. Her
wardrobe, hairstyles, her face... It’s
just so fascinating and detailed
and gorgeous. I could draw her
over and over again and never
get bored. But Leia is and always
will be my favourite character.
THE ART OF FILM: STAR WARS [ 137 ]
The Haunted
Galaxy series
is a mashup of
iconic Star Wars
characters with
Haunted Mansion
Her strength, leadership, bravery
and intelligence nnake her a great
role nnodel for wonnen and girls.
And I am a sucker for all her witty
banter with Han.
Who’s the hardest character to
get “just right”?
In general, I struggle with drawing
men. I don’t know why, but drawing
women comes much easier to me.
So, whenever I have to draw a male
character, stress levels rise. For me,
Han Solo has to be the trickiest.
He’s attractive, but not in any sort
of traditional way. Getting that
smirk just right can be challenging.
R2-D2 turns up quite often in your
work. Is he a favourite of yours?
After Leia, he would be my
favourite, yes. It’s amazing to me
that with just a series of beeps and
little noises, he has such a distinct
personality. I used him to tie together
the background in my Celebration
piece, because he was important to
both Amidala and Leia. When I was
at MegaCon [in Orlando, Florida, in
April 2015], R2 came by my table
to visit, courtesy of the R2 Builders
club. I was thrilled - I wanted to take
him home with me.
Did you have a good time at Star
Wars Celebration 2015?
I had an amazing show. I’ve been
doing conventions for a few years
now, and have been lucky enough
to do great shows like SDCC, NYCC,
Emerald City, C2E2, etc. But there
was just something in the air at
Celebration, this excitement and
energy, especially on that first day
after everyone saw the new teaser
trailer. And to be included with
such an insanely talented and
skilled group of artists was an
immense honour. It is a big goal
of mine now to continue to push
myself improve my work and get
included in Star Wars Celebration
shows for as long as I can.
Have you started painting and
drawing any of the new
characters from Episode VII?
I have done a few quick little
sketches of BB-8. In fact I taught
a drawing class for kids at Celebration
and he was one of the lessons we
did. He’s so fun! But I have plans to
do a Rey sketch soon. Can’t wait to
find out more about her!
www.karenhallion.tumblr.com
[ 138 ] THE ART OF FILM: STAR WARS
A horde of
Stormtroopers,
a looming Star
Destroyer, and
Mara Jade still
dominates
DARYL
MANDRYK
Best known for his work in the games industry, the
prolific illustrator visits the Extended Universe...
O his striking
illustration of
a lightsaber-
wielding Mara
Jade Skywalker
was created by
artist Daryl Mandryk for the Star
Wars novel Choices of One by
Timothy Zahn. “The brief asked for
Mara Jade leading a contingent
of Stormtroopers, so I had quite
a lot of wiggle room with how to
portray that,” Daryl explains. “I
created a few thumbnails, and an
image of Jade in front of a line of
troopers stuck out. It felt iconic
and made her larger than life. The
image took about five days to
complete, and the Star Destroyer
in the background I added in on a
whim at the last moment. I felt it
really needed some of that massive
scale that is just so Star Wars.”
To bring Luke’s wife to life here,
Daryl followed his normal process.
“I do all of my work in Photoshop,
from start to finish,” he says.
“There are many painting apps
out there, but I use Photoshop
for its flexibility and speed. First
come the thumbnails to show the
art director, followed by some
revisions and then a colour rough.
This sets up the final image and
gives the AD a good idea of
where things will land. Next it’s
on to painting the image out,
and just spending lots of time
rendering things and getting
things to look right.
“If I find I’m having trouble
painting something, I have no
problem pulling reference images
from the web to help things along.
Also, at this stage, there may be
elements that I mock up in 3D
to make my life easier - the Star
Destroyer is a good example. With
just a few simple primitives you
can save yourself hours of painting
time. Then it all becomes about
polish - making tiny adjustments
here and there that add up to
large improvements.”
Daryl is a big Star Wars fan. “It’s
a huge, cool universe that has
inspired so many artists, probably
since they were kids,” he says.
“There’s so much to the universe
- the characters, the locations,
the vehicles... everything in Star
Wars makes you want to pick up a
pencil and draw. It’s fun to imagine
yourself in that universe, so, in that
sense, it’s an easy sell.”
It’s the creators that inspire him
the most. “There are so many
incredible artists who’ve worked
on Star Wars it’s impossible to
pick a favourite, but I will say
Ralph McQuarrie has been a big
influence on my concept work. His
work is so crisp, confident, vibrant,
and to-the-point. I feel he’s a
master visual storyteller.”
But it’s the Star Wars characters
that really strike a chord with
Daryl. “I think the main reason
they work so well is that they
actually have character,” he says.
“They have clear motivations,
personalities and emotional cores
that the audience can relate to.
Within a few minutes of meeting
Luke, the audience understands
he’s a dreamer, adventurous and
a little naive. You feel empathy for
him. The characters (at least in the
original trilogy) are also based on
easily understandable archetypes:
the princess in distress, the rogue,
the sage and so on. These are
timeless ideas that people are
already familiar with.”
www.nnandrykart.com
££ It’s a huge, cool universe. The characters, the
locations, the vehicles... everything in Star Wars
makes you want to pick up a pencil and draw 5 J
mbK^
[ 140 ] THE ART OF FILM: STAR WARS
THE ART OF FILM: STAR WARS [ 141 ]
JOSHUA VIERS
JOSH
VIERS
The art director shares his personal
projects inspired by Star Wars
© bile studying at
the University
of Cincinnati
Josh had the
opportunity to
design toys for
Hasbro, shoes for Adidas and
consunner electronics for Samsung
and Acer. After graduating with
a BS in Industrial Design in 2001,
Josh worked as an art assistant
in the Industrial Light and Magic
art department, “which was a
fantastic experience that allowed
me to make some good friends,”
he says.
After ILM Josh had the great
opportunity to work for Doug
Chiang (at Pexart/lceblink
Studios/lmageMovers Digital),
“who was the person to promote
me to the position of concept
[ 142 ] THE ART OF FILM: STAR WARS
IV i
A P
I took a scene with
its brilliant framing and
repurposed it, which is
kind of what George
Lucas originally did 33
7,
THE ART OF FILM: STAR WARS [ 143 ]
rrr
artist for a feature film. The first
movie I created concept work for
was Spielberg’s adaptation of H.G.
Wells’ War of the Worlds.
“I worked on several films under
Doug’s direction for the next five
years including The Polar Express,
Monster House, Beowulf and A
Christmas Carol. While working
for Doug our small art department
of approximately 15 people
changed hands (and names) a
couple of times until it officially
became a Disney company called
ImageMovers Digital.”
While working for Doug,
Josh was approached by The
Orphanage for the position
of lead concept artist on
Frank Miller’s adaptation of
Will Eisner’s The Spirit, which
he enthusiastically accepted.
[ 144 ] THE ART OF FILM: STAR WARS
Like many of Josh's
pieces, "Jedi Ronin"
hints at a rich backstory
JOSHUA VIERS
I’m a digital hoarder.
Each piece has one key
reference that informs
my space and one the
mood and colour 33
THE ART OF FILM: STAR WARS [ 145 ]
“After that contract I nnoved
to EAs Visceral Games to work
as a senior concept artist on
several unannounced titles,” Josh
continues. “I eventually returned
to Industrial Light and Magic as
a senior concept artist where I
worked on Super 8, Cowboys and
Aliens and Redtails,” explains Josh.
Since leaving ILM Josh has
served as an art director and artist
for several mobile game titles and
unannounced projects based out
of Los Angeles. He has created
concepts for films by Steven
Spielberg, J.J. Abrams, Robert
Zemeckis and Jon Favreau.
Here we showcase some of
Josh’s personal concept work
inspired by Star Wars.
www.conceptbyjosh.conn
[ 146 ] THE ART OF FILM: STAR WARS
JAN
URSCHEL
The video game art director gives us
a glimpse into what might have been...
ince the first
film back in 1977,
Star Wars has
become a cultural
phenomenon and
sparked a variety
of merchandise including apparel,
toys and video games. Freelance
art director Jan Urschel worked
on the third of these in 2011, at the
now defunct LucasArts studio in
Singapore. It was here that Jan
created this incredible artwork for
the Star Wars 1313 video game.
“My colleagues and I worked on a
lot of different areas of the game
but these particular pieces were
done for the marketing campaign
for the 2012 E3,” he says.
“Some pieces for 1313 had a
strong Blade Runner vibe, set in
the Star Wars universe,” he adds.
THE ART OF FILM: STAR WARS [ 147 ]
“Those are two of my favourite
worlds, so bringing them together
was a really fun thing to do.
From a technical point of view
this is a 3D base model that we
touched up in terms of lighting,
atmosphere, detail, materials and
characters. Since it had to hold up
for print, these images got a bit
more attention than usual.”
Adapting to a project’s specific
needs is something Jan has
become very accustomed to.
“Working in production for AAA
games and movies really allows
only for one kind of process:
whatever works - figuring out
the best way to deliver the best
work within in the deadline,” he
explains. “Sometimes that doesn’t
allow for a whole lot of exploration
but it keeps you on your toes and
forces you not to dwell too long
on one image, trying to perfect
every single thing.”
Jan drew inspiration from
none other than concept artist
and illustrator Ralph McQuarrie.
“You can’t talk about Star Wars
without mentioning the genius
of McQuarrie, one of the original
Illustrators on the first trilogy
back in the 1970s,” he says.
“When working on any Star
Wars property he is the ultimate
reference point. He inspires with
his very high level of execution,
the ability to create alien worlds
that feel alive, and his design that
removes everything unnecessary
and arrives at the simplest and
visually strongest solution.”
Jan also believes great
character design in the films
has a massive role to play in
inspiring artists all over the
world. “The design for someone
like Darth Vader plays a huge
role - looking scary, intimidating
and also mysterious,” he says.
“Overall, though, it’s how well
we as the audience can relate
to the characters themselves.
Who as a kid didn’t want to be
Luke Skywalker?” That said, it’s a
different character that he can’t
wait to see now. “I’m looking
forward to the new film after the
latest trailer took, visually, very
much after the original trilogy,
with more of that old school
Star Wars look - more saturated
colours, nostalgic locations... and
of course Han Solo.”
www.hendrix-design.com
All images © LucasArts & Lucasfilm Ltd. All Rights Reserved.
[ 148 ] THE ART OF FILM: STAR WARS
FURIO
TEDESCHI
Blend equal parts technical expertise and
passion, and you get fan-favourite portraits
© hen Star Wars fan,
character artist,
3D sculptor and
concept artist
Furio Tedeschi
came across a
small Facebook group challenge
to create a version of Darth Vader,
he simply couldn’t resist. ‘Tve
always loved Vader and wanted to
create my own version of him,” he
says. Furio started his illustration
using 3D software to sculpt the
character before moving into
Photoshop to complete the
composition. “I generally like
to sketch loose ideas out in 3D
(either 3ds Max or Zbrush),” he
explains, “and from there I usually
refine the sculpt to a point where
I can then take a variety of render
passes. The passes usually consist
of base colours pass, reflection, AO,
metal and plastic passes, I then use
Photoshop to compile the image
and add post effects.”
Like many Star Wars fans, Furio
became hooked from a young
age. “There were many new visual
techniques invented to bring it
to life. For me, as a kid, it was
incredibly believable,” he says.
“From the rich universe it’s based in,
to the amount of arts and creatives
on the project, it’s a constant source
of inspiration for many artists and
set the visual benchmark for its
time. I’m referring mainly to the first
three episodes of Star Wars - for
me they are still the best ones.”
A passionate artist, Furio looked
to original Star Wars artists to get
his creative juices flowing. “I think
Star Wars was the product of a lot
Star Wars was the
product of a lot of
passion from everyone
that worked on it, and
it really shows 33
of passion, from everyone that
worked on it... and it really shows,”
he comments. “Ralph McQuarrie
is a big inspiration.” But he finds
it difficult to envision future films
being quite as good. “For me it
will be hard to top the original
three,” he says, “but I have my
fingers crossed.”
www.snnokeflannes.blogspot.co.uk
THE ART OF FILM: STAR WARS [ 149 ]
[ 150 ] THE ART OF FILM: STAR WARS
KAI
CARPENTER
Crafting a drannatic scene in
the Clone Wars continuity...
O ai created this
striking innage as
part of a Clone
Wars competition.
“I wanted to do
a truly dramatic
image - not just compositionally
but thematically dramatic. In the
first portion of the show, Ahsoka’s
skill puts her in danger constantly.”
For Kai, “the thing that pops
about Star Wars is the operatic,
grand scale of the drama. Lucas
went to such lengths to fit the
story to a mythological model, and
his work paid off! The story is pure
mythology, and that’s a powerful
draw on people all over the world.”
Kai is hugely inspired by a man
many other artists admire: “Ralph
McQuarrie breathed such life into
Lucas’s concept, and his designs
were worthy of such a grand
vision. The first, and the best!”
Though he prefers traditional
techniques, Kai turned to his PC
for this piece. “I don’t actually
work digitally anymore and, even
THE ART OF FILM: STAR WARS [ 151 ]
"Ahsoka's Trial"
abounds with telling
details that point the
viewer towards a
compelling story
then, this was a little unusual in my
choice to do it on the computer,”
he says. “But my techniques are
much the same in both mediums.
I start with a coloured ground,
generally either a sienna or ochre.
Then I usually sit and look at
the blank canvas for an hour or
two, envisioning the whole piece
and making notes. When I start
to paint, I paint thinly at first
and thicken the brush strokes
as I go. Rather than creating an
underpainting and working up
gradually all over, I tend to prefer
to establish different parts of
the composition and link them
together to form the finish - I think
probably because I’m impatient to
get to what I saw during that two
hours at the beginning!
“It’s got to start with a story.
That’s really what pulls me
through the whole thing. And
as I go from there, the details
fill in - Ahsoka having snatched
Anakin’s lightsaber from him to
defend them, for instance. I liked
the idea of getting the cold, misty
environment involved by having
the lightsabers issuing steam as
they move through the air.”
Kai is excited about the new
film. “It really looks like it’s got
something that the original
three had,” he says, “particularly
the physicality of the effects,
simplicity of design and grandness
of vision. I can’t wait to see more
of that ruined post-war universe!”
www.kaicarpenter.deviantart.conn
[ 152 ] THE ART OF FILM: STAR WARS
Recognisable even
in silhouette, Darth
Vader stands on
the path of evil
© Sony Online Entertainment & Lucasfilm Ltd .
THE ART OF FILM: STAR WARS [ 153 ]
m MICHAEL
PEDRO
The concept artist gives us an insight
into creating a stunning environment
O rtist Michael
Pedro created this
beautiful Path of
Evil illustration
for the Star Wars
Galaxies trading
card game. “The concept of this
image was to really convey Darth
Vader as a figure of temptation,”
Michael explains. “I painted him
standing on a volcanic rock
formation on the planet Mustafar;
the formations vaguely resemble
the claws of a hand, a hand
beckoning the viewer. Ultimately,
I wanted to find a unique way
of suggesting the allure of the
Dark Side.
“Darth Vader, terrifyingly
mysterious, was a tragic figure
who rose to power and fell from
grace; essentially, Luke has no
choice but to live the risk of
following in Vader’s footsteps.
Mystical trappings aside, it’s
such a human story that virtually
anyone can identify with. Plus,
there’s the idea of being ‘the
underdog’ who’s ultimately called
to live out an important destiny.
Luke went on an adventure that
left him a hero - what’s not to like
about that story?”
Michael began the piece as a
series of black-and-white sketches,
to outline the possibility of where
the image could go. “Once I have
a particular composition in mind.
I’ll block in some loose, basic
lighting, and then begin applying
colour to really start building up
the layers of the painting,” he says.
“From there, it’s a simple matter
of applying photo textures to
quickly attain my desired level of
detail, and then using digital paint
to ‘push’ the photo elements back
and merge them into the rest of
the image.”
Michael’s decision to become
an artist in the first place was
based on Star Wars artwork he
discovered during college. “I was
still in college when the prequel
films’ art books were gaining
popularity, and it was the designs
and paintings of Ryan Church -
the concept design supervisor on
Attack of the Clones - that really
made me sit back and say ‘Yeah, I
want to be a concept artist’.”
And his love for the franchise
continues. “I think it ultimately
comes down to the idea of Star
Wars being the ultimate sandbox.
Between the six released films, an
entire galaxy has been established
with scores of worlds, characters,
and stories that can now, in turn,
serve as inspiration to other
creators. It’s a galaxy of seemingly
endless possibilities, really.
“Watching the trailers for The
Force Awakens, I’m reminded
that no matter how much we all
think we ‘know’ Star Wars, there’s
always another episode or series
or novel right around the corner
that adds to the universe in ways
we never imagined.”
Michael has high hopes for
the next installment. “I’m super-
excited!” he says. “I’m a huge fan
of J.J. Abrams’ more practical
approach to set construction and
special effects, so I’m eager to see
a new Star Wars that feels more
immersive and real. That, and the
updated Stormtrooper designs
are absolutely terrific!”
www.michaelpedro.com
[ 154 ] THE ART OF FILM: STAR WARS
IZZY
MEDRANO
In a universe of archetypal characters,
Izzy finds room for one more psycho...
oncept artist and illustrator Izzy
Medrano is a story-first kind of guy,
which goes some way towards
explaining his love of Star Wars. “I
love a good narrative,” he says. This
is something that he clearly applied
to his show-stopping illustration The Tyranny of
Lady Vex (right). “Lady Vex was born of a need
to create a good villain for my other character.
Granny Claymore, an old alcoholic hermit that had
lost her connection with the Force,” Izzy explains.
“She made up for it with a huge claymore-esque
lightsaber. I figured that with a strong punkish
personality like hers she’d need a decent foe.
Enter Lady Vex.”
Izzy came up with the idea for his villainous
character during an impromptu sketching session.
“I imagined Vex as being completely insane,”
he says. “She is driven by a sense of psychotic
justice, dealing in absolutes.” While doing so, he
had iconic Star Wars design at the forefront of his
mind. “The original Star Wars concept artists and
THE ART OF FILM: STAR WARS [ 155 ]
[ 156 ] THE ART OF FILM: STAR WARS
S£ [The Star Wars
universe has] strong
archetypal characters,
Iconic design makes
them work
THE ART OF FILM: STAR WARS [ 157 ]
model makers are, of course, huge influences,” he
comments. “In the new films, the work of illustrator
and conceptual designer lain McCaig blew my mind.”
But just what is it about Star Wars that keeps
driving artists to create new work? “It’s the universe
and strong archetypal characters,” Izzy argues.
“Iconic design makes them work. From acting to
costume, story to voices, they are complete and
clear characters, who aren’t muddied in ambiguity.”
A fan of the epic space story, Izzy is cautiously
looking forward to the forthcoming new film. “I’m
remaining optimistically reserved,” he comments.
www.cannibalcandy.conn
[ 158 ] THE ART OF FILM: STAR WARS
Stormtroopers don't get
many breaks... in any
sense of that phrase!
THE ART OF FILM: STAR WARS [ 159 ]
Bobby captures the
relationship between
Luke and Yoda in just
a few deft strokes
BOBBY
PONTILLAS
Classic characters seen through fresh
eyes and depicted in a different style...
O aving seen the Star
Wars filnns only last
December, Disney
character artist
Bobby Pontillas is
a little late to this
particular party. But, now a die-
hard fan, he was so inspired that
he immediately started creating
his own fan art. “I can’t tell you
how many people I’ve talked to in
the animation industry who’ve said
that Star Wars is the reason they
are artists today,” he comments.
“I just think the characters and
the world they inhabit fired the
imaginations of everyone. They
want to be there and live in those
worlds, and in your career as an
artist you hope to inspire the
younger generation in that same
way and bring more of these kinds
[ 160 ] THE ART OF FILM: STAR WARS
"Only a few decades
late," Bobby brings
a new perspective to
familiar characters
THE ART OF FILM: STAR WARS [ 161 ]
I wanted to convey how cool I
thought these characters are and
the relationships they share
of worlds and characters to life.”
In creating his eye-catching
character illustrations, Bobby
was heavily inspired by the work
of nnovie poster artists Drew
Struzan and Oily Moss. “Oily’s Star
Wars set is pure genius,” Bobby
comnnents. With his own ideas
set, he doesn’t nness about when
it comes to creating artwork. “My
process is somewhat light on its
feet,” he says. “It’s a simple style
and I like to work fast and loose,”
he explains. “What I try to get
across in my work is just a strong
sense of character, which the
Star Wars universe has in spades.
I wanted to convey how cool I
thought these characters are and
the relationships they share.”
Bobby loves all the Star Wars
characters but does admit to
having some favourites. “I had a
great time doing Yoda and Luke
because those are my all-time
favourite scenes in all of the films.”
Now a true Star Wars fan, Bobby
is looking forward to the next
installment, which he definitely
won’t be late for. “I have faith that
these films are going to knock
everyone’s socks off. Just by the
looks of the trailers, the reveals
of the characters. I think J.J. is
too smart a filmmaker to bring
anything less than astonishing!”
bobbypontillas.blogspot.com
[ 162 ] THE ART OF FILM: STAR WARS
MICHAEL
PETER
How an innage grew out of love for the
character and deep expertise in texture
O s lead texture artist, VFX, on the new
Fantastic Four film and senior texture
artist on Guardians of the Galaxy,
Michael Peter clearly loves his sci-fi. He
says he became a fanboy when he was
four years old and saw Return of the
Jedi in the cinema. “Afterwards I turned to my dad and
told him, ‘When I grow up, this is what I want to do.’
This is still as true today as it was then. I still feel as
spellbound by that magic feeling of watching Star
Wars as I was then. I collected loads of action figures,
studied art books and was fascinated with ILM.
“When I turned 12 I started to draw. The books
Cartoon Animation and Film Cartoons by Preston
Blair helped a lot in those early days. I had a Super-8
camera and made a couple of stop motion-films in
my room. I was so excited by this that I got more
and more interested in the technical side of films.
Then I got obsessed with computer animation. It
was a dream come true when I was able to work on
Germany’s very first computer animated feature film
Back to Gaya. I worked on more international projects
for Lucasfilm and MPC in the last couple of years.’’
Why choose R2-D2?
Well, if you have a look around my home office, it is
very clear why I chose this project. It looks like a kid’s
room rather than an office. There are the old action
figures and spaceships everywhere. My biggest pride
and joy is a poster of Return of the Jedi with about
20 cast members’ autographs. Also, R2-D2 and C-3PO
are my favourite characters. It seems it was inevitable
that one of them would turn out to be my first big
private project.
What was your biggest challenge in creating R2-D2?
The research. There is just so much material to choose
from as reference. First I captured every scene that
featured R2-D2 in the first trilogy. Then I worked my
way through pictures, blueprints and building
instructions that exist on the internet. There is so
much stuff there that is not accurate at all, when
compared to the original. I had to go back and redo
parts of the model over and over again. I really wish
I could get access to the archives at Lucasfilm to
take pictures of R2-D2 for references - to measure
everything, document the textures and shades. I
would probably start all over again with the project!
Can you share your general workflow?
I work mainly with Maya, Mari, ZBrush, Arnold and
Photoshop. Usually I spent the first hours - or
THE ART OF FILM: STAR WARS [ 163 ]
Michael says his
evocative image
of R2-D2 on
Dagobah is still a
work in progress
i
I
sometimes days - by looking for reference material. By
simple blocking in Maya I can determine very quickly
which details I need. I prefer to do a few first textures
and lookdev early on. Then I decide which maps I
need, if the UV layout is sufficient to achieve the
degree of details that I want. Each project has its own
challenges and requirements. That’s what makes it so
exciting. I enjoy discovering and developing new ways
of working. After 20 years I am still learning with each
project and I am constantly refining my workflow.
Why do you think Star Wars is so popular?
I think there are many good reasons why Star Wars
was such a big success and remains so to this day.
The story is just brilliant. What captures me is the
degree of fantasy of the film makers. It seems
absolutely infinite. There is so much detail to all those
images. Plus the peek you get into those far-away
worlds and galaxies.
What other Star Wars images do you have planned?
On the side, I have already begun to work on an image
of C-3PO. I am sure I will combine the two droids in
a few stills at some point. But before that happens,
I would like to do a few more things with R2-D2. In
particular the image on Dagobah is still on my list.
I want to throw a bit more mud onto it. I am also
thinking about the Millennium Falcon, but all the
details are a little intimidating. So I have been putting
that off again and again. Thank God I will never be
short of material when it comes to the Star Wars
universe with all its characters and spaceships!
Are you amazed that character designs from the
1970s are still so fresh and appealing?
Not really. All the worlds, spaceships and locations
always had a sort of lived-in feeling about them. Yes, it
is science fiction, but all the slightly battered designs
made those worlds very real. Maybe that was one of
the problems with the second trilogy: compared to the
original, the designs where just a little too flawless and
smooth. The same holds true for the characters.
www.anillusion.de
[ 164 ] THE ART OF FILM: STAR WARS
BRENT
WOODSIDE
As well as illustrating for everything fronn children’s
books to movie merchandising, Brent is a true fan
© razy, stupid
excited,” is how
Brent describes
his anticipation
for the new Star
Wars film. “I plan
to attend the opening in my Han
Solo costume.”
A fan, then! And Brent is well
aware of the part that the fans
play in the ongoing success of
the franchise. “Star Wars fans
are some of the nicest people I
have ever met,” he says. “They
are devoted to, and invested in,
the mythology of the Star Wars
universe. I count myself a Star
Wars devotee. I listen to Star
Wars audiobooks while I paint
(Karen Travis is my favourite Star
Wars author), I read the comics
and play the games.”
Brent is not only a fan. He’s
also an honorary member of the
Star Wars costuming guild The
Mandalorian Mercs.
Brent has a huge respect for
all his fellow artists, but it’s the
artwork of lain McCaig, Doug
Chiang and Ryan Church that
lingers in his imagination. When it
comes to his art, he’s constantly
busy with commissioned work
but finds that ideas come to
him, and it doesn’t take long.
“Typically I try to let the concept
come to me while I’m doing
something else. I find exercise
count myself a
Star Wars devotee. I
listen to Star Wars
audiobooks while I
paint, I read the comics
and play the games 93
clears my mind,” he tells us.
“Something comes. I thumbnail it
out. I work out lighting and colour.
I look up reference or shoot it. I
photomontage up a version of
it. Then I work up line art, be it
pencils on paper or digital on
the Wacom. Then paint, be it
traditional or digital.” His own
favourite piece is Su Cuy’Gar
(opposite). “If you look really close,
I even a hid a Jango Fett face in
the clouds looking down on Boba.”
But it’s not all Star Wars for
Brent. “I am currently working on
a Zombie illustrated text novel
where the reader can influence
the story by choosing between
options at certain branch points.”
Inevitably there is a Star Wars
connection: “I’m working on it
with fellow Star Wars artists Grant
Gould and Kayla Woodside.”
www.brentwoodside.conn
THE ART OF FILM: STAR WARS [ 165 ]
"'Su Cu/GaK is the title of
the Boba Fett piece and is also
Mandalorian for 'hello', although
it literally translates to 'So you
are still alive' in the Mandalorian
language. The title was inspired
by the rumours of one of the Star
Wars Anthology films being about
Boba. This piece has a acrylic
underpainting on board and was
completed in Photoshop"
[ 166 ] THE ART OF FILM: STAR WARS
"The title of this piece is
Torment. I like the idea that
Vader lives on a fuel of hate
but occasionally something
stirs inside him and sparks
memories from another life.
Flashes that nearly break him.
Memories of love and loss that
are so powerful they steal his
fury and bring him low. This
piece is acrylics on canvas
with digital clean-up at the
end for printing"
THE ART OF FILM: STAR WARS [ 167 ]
ZJ
A Show of force
TM Bt Lihriifilm LtJ. All righli [(-m-ril. I's-fi' ■ii-.ipr ,Airtlioria.ilior.
"With A Show of Force I wanted
to show the might of the Imperial
forces. This piece I did entirely in
Photoshop on a Wacom 21 ux"
[ 168 ] THE ART OF FILM: STAR WARS
GUILLAUME
MENUEL
Guillaume kind of went crazy when the first Star Wars
Episode VII trailer was released last year. “I was just
way too much caught up in the hype - I had to do all
this fan art. It poured out of me!”
The thing that caught the artist’s attention (besides
the fact that it was a new Star Wars film!) was the
characters. Though the trailer gave little detail away, it
was the mystery of them that hooked him: “The rebel
sign on Finn’s arm was my guess that he may be some
kind of dissident Stormtrooper,” he says. Like so many
fans, he watched the trailer multiple times and started
counting down the clock until he could compare his
guesses to J.J. Abrams’ vision.
Guillaume says he’s “not very original” in his
favourite Star Wars artists: he’s worshipped Ralph
McQuarrie, Doug Ghiang and Roger Kastel for years.
“I devoured their books when I was in high school
and they really made me fall in love with concept art.”
He’s now a concept artist at Ubisoft Montreal, and it’s
character design he loves most, he says.
Although the art books certainly inspired him, he’s
still not really sure he has a precise art process. “But I
really enjoy working with lines first, having a good and
precise drawing done. Then I add my black-and-white
shading and then colour. I finally merge everything
on a single layer to push my rendering... I have quite a
traditional approach. I don’t use Photoshop at its full
potential, that is for sure!”
www.artstation.com/artist/grizz
"I am above all a character designer, so
I had fun doing this Mandalorian desert
bounty hunter. She's a wanderer hunting
in the most dry, inhospitable places. I
tried to keep the rusty tech feeling that
gives such charm to Star Wars designs"
"This is a scout trooper who's become
really mad about Ewoks. So he's hunting
them, and wearing some trophies when
he gets one! I love the scout troopers
characters - their design really is my
favourite in the troopers category"
THE ART OF FILM: STAR WARS [ 169 ]
LINZY
BUSCH
‘Tm a huge fan of the Star Wars:
Rebels cartoons/’ says Linzy.
“So I knew right off the bat I
wanted to incorporate them
into my piece here. I tried a few
sketches with multiple characters
and I just wasn’t feeling it. Then
as I was flipping through my
Alphonse Mucha art book to get
some inspiration, I had an idea to
paint the artist Sabine in the Art
Nouveau style and I ran with it.’’
You can probably see a little of
the legendary Drew Struzan in
Linzy’s poster art too, but she’s
also a fan of fellow licensed Star
Wars artists like Matt Busch, Adam
Hughes, Russell Walks and Tsuneo
Sanda. “It’s a whole universe of
imagination! There isn’t just one or
two story arcs here, we’re talking
tons and tons of characters and
storylines. Any artist can bond
and feel a relationship with a lot
of these characters.’’
Not that Linzy always knew
the glories of Star Wars. “I was
late to the party. I’m not gonna lie,’’
she says. “My older sister growing
up was a huge fan and at first I
didn’t really get that into it. Then I
remember early on when I was in
college, re-watching the original
trilogy and thinking, ‘Okay, sis,
you did know what was up!’ Since
then I’ve watched them too many
times to count, and they just keep
getting better.’’
And the new Episode VII?
“Every time I see the trailer I tear
up like Matthew McConaughey,’’
Linzy confesses. “It literally gives
me chills! I wasn’t around when
the original trilogy came out, so
in some ways I feel like the next
part of the journey will be even
more epic to me because I’ll truly
be able to appreciate it when it’s
being viewed around the world for
the first time.
“I’m so ready to be involved and
explore a new chapter!’’
www.lin-zy.com
With the paint splatter being the main directional
element, Linzy then tried the character in several
poses before this won out. "A lot of the muses
used in the Art Nouveau style always had a
certain confident air about them. I really wanted
to capture that in Sabine's expression"
© Lucasfilm Ltd. All Rights Reserved.
[ 170 ] THE ART OF FILM: STAR WARS
MARK
MOLNAR
What do you do as a break from painting
official Star Wars art? More Star Wars art!
© ith all the
nnysteriousness
of a Jedi, Mark
Molnar believes
“the nnost inspiring
parts of Star Wars
are the things we haven’t seen
yet.’’ What keeps Mark inspired is
such things as the overall setting,
as well as imagining characters,
creatures and planets that can fit
into the Star Wars universe. All the
movies “created a really rich world
that still has a lot of unexplored
corners,’’ he says. “It is like having
a frame and you can fill in what is
inside, and that is really exciting
and challenging for an artist.’’
Mark says he’s still “in love’’
with the original works of Ralph
McQuarrie, and also psyched
about the visions of Chris Evans
THE ART OF FILM: STAR WARS [ 171 ]
Guardian
Towers: a non-
commissioned
piece depicting
planet shield
generators on
the peaceful
planet of Nubia
and Mike Pangrazio created from
the original trilogy. Mark is also
fully aware that those artists would
have been restricted, to a degree.
“I always have more freedom in
my personal works - usually there
are lot of stylistic restrictions when
I do commissioned Star Wars art,”
he says, “simply because it is an
intellectual property with really
well defined design language.”
Yet that visual language is so
rooted in fundamental themes, it’ll
never get old. “Their roots go back
to the essence and symbolism of
storytelling, and they are using a
really simple and understandable
shape and design language in their
outfits,” he says. “They are easy to
recognise in any environment and
easy to remember. Their strength
is in their simplicity,” says Mark.
As a concept artist and
illustrator specialising in visual
development and pre-production
design for the entertainment
industry, creating artwork for
international film, game and
animation companies, Mark’s
website showcases his wide range
of artwork for Star Wars RPG
(role-playing games) and card
games. He is currently working on
multiple Star Wars related projects
for the tabletop and card game
lines, but that’s all he can say -
and even those aren’t announced
yet. “I am also working on a sci-fi
movie pitch project that is not
directly related to Star Wars but
I think it will attract the same
fan base.”
www.nnarkmolnar.com
Sith Witch is
another personal
piece, asking the
question: what if
Leia had turned
into a Sith lord
instead of Luke
becoming a Jedi?
THE ART OF FILM: STAR WARS [ 173 ]
9 CHRIS
TREVAS
The artist has some fun capturing unseen moments
that may or may not have happened off-screen...
O ongtime Star Wars
fan Chris Trevas
spent many an
afternoon playing
the intergalactic
hero with action
figures. “Did you know that a
plastic Chewbacca will turn green
after spending a winter lost in the
Michigan snow?” he says.
Chris has since created artwork
for cards, covers, miniatures
and even blueprints, but it’s the
unknown that appeals: “The best
thing about this new trilogy is,
we’re finally back to unknown
territory. No matter how you feel
about the prequels, there were
certain aspects of them that we
knew from the very beginning,”
he notes. “We knew Anakin
Skywalker’s fate. We never feared
for Obi-Wan’s life. We already
knew the fate of most of the
important characters and I think
that dulled the experience, at
least for us older fans. I’m looking
forward to seeing our classic
heroes and being surprised at
what comes next.”
Looking at Chris’s art, you’ll be
struck by the realism. In fact, he
starts each painting in the same
way, in a process that harks back
to childhood. “Sometimes I’ll pose
action figures to figure out camera
angles and basic lighting before
I shoot live models,” he says. “I
compose a piece using reference
photos, sketches, 3D models,
whatever it takes to lay out the
scene. I rough in colour with the
basic Photoshop paint brushes,
usually under a drawing layer, but
sometimes I’ll set the brush to
Color or Hard Light when working
over bits of reference. Once I’m
happy with the overall colour and
composition, I start painting detail
on new layers section by section.”
With a signed Ralph McQuarrie
print of Luke on his desk, Chris is
currently working on a couple of
new Star Wars books that are yet
to be announced. “I’m also doing
some technical-style packaging
artwork for Hasbro that will start
coming out this fall,” he says.
www.christrevas.conn
In the prequels we
knew some things
from the beginning,
which dulled the
experience. I’m
looking forward to
being surprised at
what comes next 99
[ 174 ] THE ART OF FILM: STAR WARS
His Vision Returns (above): Han Solo comes out of
the deep freeze in Return of the Jedi temporarily
blinded. The "vision" in the title refers both to
his eyesight and the woman who loves him and
came back to rescue him. It's only back in the
Falcon that he first sees Leia's slave costume
The Folly of TK-421 (right): "I always
wondered what happened on board
the Falcon when our heroes ambushed
the Imperial scanning crew and the
pair of Stormtroopers. It was fun to
imagine how the scene unfolded"
[ 176 ] THE ART OF FILM: STAR WARS
Execution Order (above): "Vader has always held
a grudge against his step-brother's family, and
finding that they're also sympathetic to the
Rebellion, he decides to wipe out this reminder
of his past. I like the idea that there's more behind
the death of Luke's aunt and uncle than we saw"
The Hunter and his Prey: (right)
"Cloud City was a setup all along. I
really liked the idea of Boba Fett
figuring out our heroes' destination
and beating them there. He was
watching them the whole time"
THE ART OF FILM: STAR WARS [ 177 ]
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THE ART OF
FILM
VOLUME ONE
Greg Hildebrandt
Celebrate Star Wars through the eyes of the world’s finest artists.
From the legacy of those who worked on the original 1977 film
to today’s digital artists, Star Wars has never looked better.
Christian Waggoner Dave Seeley Chris Trevas Brandon Kenney Matt Busch
Cover art: © 2012 Lucasfilm Ltd. & TM. All Rights Reserved.
The Art of Star Wars : Film Vol 1
Digital
Edition
x z
II
oo
LL LLI
tv
STAR WARS
ART INSPIRED BY A GALAXY FAR, FAR AWAY.
Star Wars Identiti
ILM Art Dept/
Christian Waggoner
Doug Cowan
Dave Seeley
Pavel Goloviy
ArtStation Challenge
Morgan Yon
Fred Palacio
Jon Foster
Izzy Medrano
Cecilia G.F.
; ~ TT' 7 ' ^
And^Fairhurst
Kai Carpenter
Malcolm Tween
Grant Gould
Fan Gao
Hugh Fleming
Matt Busch'
Martt Rhodes
Tony Foti
Aaron McBride
Sean Marino
Stephen Hayford
Terese Nielsen
Terryl Whit-latch
Paul Dainton*
Ansel Hsiao
^ * *
Brandon Kenney
Andrew March
••
A ■
Cat Staggs
Simon Goinard
• Ar 1
^ ▼ f
Randy Martinez
Andrew
Theophilopoulos
#
Karen Hallion
Josh Viers
#
Michael Pedro
0 m * 0
Feng Zhu
Bobby Pontillas
Welcome t
art inspired
ler celebration of incred
a galaxy far, far away...
In this reissue of our first volume of Star Wars:
The Art of Film, you’ll find a catalogue of artists’ work,
dedicated to the varying locations, space-travelling
transport and friendly (and not-so friendly) faces from
George Lucas’ most renowned creation. You’ll also be
given an insight into the artistic world of Star Wars,
including some exclusive art that was created for the
digital art magazine ImagineFX (an essential source of
pro art tips and advice). The mighty Feng Zhu created
a wonderful, wintry scene set on the ice planet Hoth,
which you can check out on page 156, and you can
enjoy the traditional portrait art skills of Hugh Fleming
over on page 60. So what are you waiting for?
Delve into the fantastic world of art of one of
the greatest sci-fi universes of all time!
[6J
THE ART OF FILM: STAR WARS
THE ART OF FILM: STAR WARS [ 7 J
The image of the
talkative C-3P0 is
made up of his own
words meticulously
rendered in Aurebesh.
Darth Maul is made
up mainly of lots of
tiny Darth Mauls!
WHAT FORCES SHAPE YOU?
IDENTITIES
THE EXHIBITION
U! X9 Productions
Discover the true characters, and find the secrets,
in these unique works in the touring exhibition
There are
secrets in all
the illustrations.
The Millennium
Falcon is hidden
somewhere in
this Darth Vader
portrait. Can
you see it?
hen the original
Star Wars movie
burst onto cinema
screens almost 40
years ago, nobody
could have realised
just what an impact it and its
sequels would have on the lives
of so many people. At the heart
of the story are characters we
al! fell in love with - but who are
they really? This is the question
the touring exhibition Star Wars
Identities aims to discover - and
along the way you can discover
your own true self.
The exhibition, that concludes its
journey in the Netherlands in 2018,
brings together unique art and
media from the Star Wars archives.
Some of it is commissioned for the
show, some of it original narrative
art from the Lucasfilm archives.
There are over 200 original props,
costumes and artworks from all
six Star Wars films.
'‘Lucasfilm wanted it to be
educational and so after a lot of
thinking we came up with the idea
of exploring the characters, and
that is how we ended up exploring
the notion of identity,” explains
communications director and
museum liaison at X3 Productions
Sophie Desbiens. "The exhibition
basically asks: what makes you,
you? We use - in parallel - the
evolution of Luke Skywalker and
Anakin (Darth Vader), who started
off with similar origins and ended
up quite differently.”
The exhibition examines the
evolution of the personalities
of famous Star Wars characters
through their stories. With the help
of a scientific committee made up
of specialists from neuro-sciences,
psychology and genetics, the
show organisers defined ten
elements that compose someone’s
identity and applied this to the
characters of Star Wars. If you
visit, you get the same treatment
and have the opportunity to not
only look at what makes you who
you are but also to create your
own Star Wars identity.
The centrepiece of the show
is a set of unique illustrations
commissioned on the theme of
(f Let me tell you, the
entire agency’s staff
fought over who was
going to get to work
on this project! '9
Star Wars and identity. The
creators of these stunning pieces,
Jean-Frangois LeBlanc, Sebastien
Maheux and Louis Flebert, all
work for the organisers’ ad
agency Bleublancrouge. “Let me
tell you,” confides Sophie, “the
entire agency’s staff fought over
who was going to get to work on
that project!”
The idea of the exhibition is to
explore what makes people who
they are. The challenge for the
artists was to render that concept
visually. Each illustration explores
what makes the character who he/
she/it is, in a manner reminiscent
of Arcimboldo’s famous portraits
composed of fruit and vegetables.
2012 Lucasfilm Ltd. 4 TM. All rights reserved. Used under auHxnization.
[ 8 J THE ART OF FILM: STAR WARS
*
*
All images © 2012 Lucasfilm Ltd. & TM, All Rights Reserved.
THE ART OF FILM: STAR WARS [ 9 ]
In the Yoda
portrait, can you
find Luke, R2-D2
and Obi-Wan
Kenobi? There
are also a few
levitating rocks!
Stormtroopers
have meaning
and identity
only in a mass of
Stormtroopers -
with their sinister
leader literally at
the centre
WHAT FORCES SHAPE YOU?
IDENTITIES
THE EXHIBITION
XiJ Productions
Take the Darth Vader illustration.
The ultimate master of evil, Vader
became a powerful Sith Lord
when he chose the Dark Side of
the Force. At the service of the
Emperor, he became an agent
of war intent on ruling the entire
galaxy. “His portrait illustrates this
by making him a literal black hole
of space in the galaxy, and his
likeness is made up of spaceships
with his ultimate weapon of
destruction - the Death Star -
as his brain,” explains Sophie.
In the Yoda portrait, we can see
how the character’s story plays in
the illustration: on Dagobah, his
planet of exile, the Jedi master
has become one with the Force
after his physical existence ends,
“His absence is now a spiritual
presence in the environment.
This translates in the fact that
his portrait is made up of empty
space,” shares Sophie.
The Stormtroopers are an
interesting subject, considering
that they are not distinct, singular
characters. “They have strength in
numbers, and so the power of one
Stormtrooper is represented here
by the multitude,” says Sophie.
“It’s all for one,” she explains, “and
their leader, Darth Vader, is at the
centre of it all. Literally. Try to find
Vader among the multitude in this
portrait. And as a bonus, try to
find the intruder, namely a little
droid called R2-D2.”
In fact, all the illustrations
created for Star Wars Identities
feature hidden secrets. “The
C-3PO illustration is one of my
favourites because of its intense
geekness,” shares Sophie. “Built
by Anakin Skywalker, C-3PO is an
etiquette and protocol droid who
is also fluent in six million forms
of communication. Throughout
the saga, C-3PO has exhibited a
fairly nervous and worry-prone
personality and is also known to
talk incessantly. He is represented
here by his own quotations, taken
from the first six movies and
translated into Aurebesh. Yes,
all these symbols are a fictional
alphabet of basic language in the
Star Wars universe. How crazy is
that? The designers took the time
© 2012 Lucasfilm Ltd. &TM. All rights reserved. Used under authorization
[ 10 J THE ART OF FILM: STAR WARS
THE ART OF FILM: STAR WARS [ 11 ]
You not only
recognise the
characters but
also recall the
themes and
incidents
represented by
the component
elements
WHAT FORCES SHAPE YOU?
The exhibition is
in three sections,
which follow
the progression
of identity from
childhood to
adulthood: first
Origins, then
Influences, and
finally Choices
IDENTITIES
THE EXHIBITION
X3 Productions
to take famous C-3PO quotations
from the first six films, translated
them into Aurebesh, and created
his portrait out of that. Nuts!”
It’s a testament to the strength
of the characters created by
George Lucas that these heroes
and villains still inspire artists
today. Sophie believes it’s because
they are just like us. Star Wars is
about archetypes and (in Jungian
terms) the collective unconscious.
The story George Lucas set out to
tell is the story human beings have
been telling for ages. As Joseph
Campbell (who is known to have
influenced Lucas) explained in his
book The Hero with a Thousand
Faces, this story is based on a
fundamental structure, called the
monomyth of the hero: something
happens to a young ordinary
person which means he then has
to go on a quest. Along the way
he will meet friends, mentors
and obstacles, and he ends up
in a final fight with his nemesis
(representing Good vs Evil).
Through that adventure, he will
come of age and find himself.
^6 A love of Star Wars
gets transmitted from
one generation to the
next. It’s very powerful,
just like mythology
"Basically, Star Wars is modern
mythology. And that is why
these characters are loved the
world over and are still relevant
today almost 40 years after their
creation. It is amazing to see
that the love of Star Wars gets
transmitted from one generation
to the next - it is very powerful,
just like mythology. What I like
the most is that you can see in
people’s eyes the happiness it
brings them,” concludes Sophie,
before adding: “That always
impresses me. I really love it and
feel really lucky to work on such
an amazing project.”
www.starwarsidentities.com
© 2012 Lucasfilm Ltd. & TM. All rights reserved. Used under authorization
: STAR WARS
ILM and ArtStation teamed up to give entrants experience
of what it’s like working on concept art for Star Wars
THE ART OF FILM: STAR WARS
[13]
jr
f
\
0
0
& [ )
/
0
A scene rich in Star Wars
lore, from third-placed
Fred Palacio, who got the
biggest prize of all...
ast year ArtStation made the online art
competition exciting again, working
with one of the most influential and
popular film-art studios in the world,
Industrial Light & Magic (ILM), Their
joint competition gave entrants an
inside view of how pro concept artists work.
It all started with a meeting at the FMX conference
in 2015, when chat turned to a question: how could
an art competition help recruit a new generation of
concept artists to work on the upcoming Star Wars
films? David Nakabayashi, creative director of the ILM
art department, came up with the idea of a challenge
that would simulate a real production experience. For
ArtStation's soon-to-be challenge manager, Daniel
Wade, the chance was too good to miss, and the
2016 ILM Art Department Challenge was born.
“When we realised we would be running a Star
Wars concept art challenge,” says Daniel, "it had to
be fit for purpose. Planning began on a platform that
would bring art challenges into the 21st century - and
withstand a record number of entrants.”
ArtStation co-founder Leo Teo had already
pioneered art challenges in the mid-2000s with CG
Challenges. “However, the aim with the new platform
was to leave behind forum-based systems in favour
of a purpose-built platform with a greater community
emphasis,” says Daniel. “The most exciting aspect was
that it was also a recruitment challenge. Those artists
who gave this opportunity everything would likely
help shape the look of future Star Wars films.”
Italian-based artist Mario Alberti predominantly
works in comics. But the appeal of taking part in this
competition was the same thing that got him into art
in the first place: a sense of awe, and a desire to soak
up anything that might make him a better artist.
“I’m always hungry for new stuff to see and learn
from,” he says. "I saw this as a chance to learn
something new, maybe get to know a bit about
working in films. Plus it's Star Wars!”
That sense of awe had kicked in. “It felt a bit like
a fish diving in a new sea, with all different kinds of
colourful and beautiful creatures swimming around
it,” says Mario. “I was confident I wouldn’t drown,
and that I’d get as much fun as I could out of it.”
The artist did more than that - he won first place.
The competition consisted of three major challenges:
a keyframe challenge, a vehicle design challenge, and
a boot-camp style challenge, with many deadlines
and changing design briefs and requirements,
“For each challenge stage, the ILM art department
created a design brief which all artists had to follow,
along with deadlines and limited guidance,” says
Daniel. Gone were the days of regular positive crits
on friendly forums. “Sometimes the art directors
gave us general advice after they viewed an overall
panel of submissions,” says runner-up Morgan Yon.
“That motivates you a lot. We also had something
special: a “Like’ button on the bottom of our images.
Those small things gave me a lot of confidence.
[ 14 j THE ART OF FILM: STAR WARS
Italian artist
Mario Alberti
triumphed out of
3 f 888 artists who
entered the first
stage of the art
challenge.
I remember when I had the first 'Like’ from David
Nakabayashi - that was intense."
Accompanying David on the judging panel for
the challenges was a who’s-who of industry legends,
including Aaron McBride, Alex Jaeger, Doug Chiang,
Jason Horley, Christian Alzmann, James Clyne, Amy
Beth Christenson, Bianca Draghici, Erik Tiemens,
Kev Jenkins, Kilian Plunkett, Ryan Church, Stephen
Tappin, Thang Le and Yanick Dusseault. When each
challenge was completed, these art behemoths
judged the entries and decided who would go
through to the next round,
“To be honest, I had just two Likes on my work-in¬
progress post,” says the comp’s third-place artist
Fred Palacio. '"No comment. Just two thumbs up. So
I felt I was on my own and kept going.” Fred did have
some help from a little friend, though: “I remember
one night my nine-year-old son Matis came over
and told me a vehicle looked Avatar-ish. 1 took one
element away and, done, it worked! Everyone’s opinion
counts, but self-criticism is very important,” he says.
Kicking things off, The Moment keyframe challenge
invited artists to create two emotive images that
told a cinematic story within the world of Episodes
IV to VI. Keyframes could use only existing Star Wars
worlds, vehicles, creatures and characters to create
a story moment. A total of 3,888 artists began the
challenge, with 1,010 completing this first phase. The
first round of judging reduced the number of artists
going through to the next round to 330.
Next, The Ride challenge asked entrants to design
two new Star Wars vehicles within the aesthetic of
Episodes IV to VI. Vehicles could be Rebel, Imperial
or utilitarian - anything from a giant starship to a land
speeder. Just under 300 artists completed The Ride
challenge, and the judging phase reduced the number
who went through to the final stage to 224.
The Job challenge consisted of six mini-challenges
designed to push artists to their limits. Deadlines were
the same as they would be in a film production, but
creative briefs were changed in mid-stream to show
how directors can change their minds. And the story
could evolve based on key frames from artists.
Everyone was kept on their toes.
“The ILM art directors asked for the best that artists
could produce within tough time restrictions, and 210
artists met that challenge,” says Daniel. “Although the
deadlines were almost impossible and the workloads
extreme, 90 percent of the artists who undertook The
Job challenge completed the six mini challenges, and
were awarded the title Survivor.”
So what’s the legacy of this exciting online
challenge? For the five artists who gained honourable
mentions (and eight more labelled “ILM Favourites”),
it's getting kudos from their peers and with luck some
commissions from companies. For the three winners,
there’s more kudos and some very desirable prizes
from Wacom and ArtStation.
For Fred Palacio it was a surprise enough to be
named in the top three. “When the result came out,
THE ART OF FILM: STAR WARS [ 15 J
Morgan Yon dramatically reimagines
the boarding of the Rebel blockade
runner from the opening of Episode
IV. Morgan describes getting a Like
from David Nakabayashi during the
art challenge as “intense."
! overlooked my name/’ he says. “I looked at the
winners announcement video and that’s when I
realised I was one of the three winners. I never
promoted myself, but as soon as the result came out
I got so many work offers.” And an interview at ILM.
“The interview with Nak (David Nakabayashi) and
Jennifer Coronado was filled with positive energy.” He
obviously impressed, because Fred was subsequently
appointed art director at ILM Vancouver.
“The art director role is the most difficult position
to fill,” said David. "We’d been keeping our eye out
for over a year.”
Fred is understandably absolutely thrilled with the
development. “Right now, I'm exploring a new world.
I’m stepping into an arena filled with the biggest
gladiators - and it seems they’re quite nice! This huge
community is making a director’s vision happen and
I’m happy and grateful to be in the middle of it.”
How did the competition work out for ILM overall?
David gives his final thoughts: “We were thrilled about
this competition because it helped us find new talent.
Most importantly, it gave us the opportunity to
remotely mentor people (whether they knew it or
not) and help them evolve their craft. There’s nothing
more exciting than being able to participate in this
important, creative community.”
To see the full brief for each challenge and explore
all the great art it prompted, visit the site below.
tps://ilmchallenge.artstation.com
INSIGHT FROM JENNIFER CORONADO
What does it take to become a pro concept artist?
Concept artists are designing for films, games or their preferred
medium. They're interested in them because they're better
versions of their own realities or places they can only dream of
being. When creating concepts, don't get too caught up in what's
"right". Focus on what's right for the project. Maybe the right thing
for a project is to go down a path you don't necessarily like, just
to know you have gone the wrong direction - that might be what
your director needs. Concept art is about being a collaborator.
Sometimes you'll be thrilled, sometimes dismayed. It's how you
deal with those situations that will make you a true pro.
Which software and tools should be prioritised?
Most of the ILM art department's concept artists work in 3D
in some form. While you don't want the tools to bog down your
design, what you're creating will likely be built by someone else
in production. Everyone at ILM has a core speciality, but can also
branch out into different areas. Being flexible is very beneficial.
Do you have any good tips for finding inspiration?
Talk to people about your ideas, get feedback. Sometimes
walking away from what you're doing, giving yourself a moment,
can get ideas flowing again. I'm impressed every day by the
amazing things people do under tight deadlines. Many of our
team do personal work. A great teacher once said, "If you don't
live a life, after a while you're just an empty shell repeating the
same thing over and over again."
All images copyright© Lucas film LtA/Disney
116 J
THE ART OF FILM: STAR WARS
lace in
comics
THE ART OF FILM: STAR WARS [ 17 J
ario Alberti loves Star Wars. "I saw Star
Wars when I was 11, and it stuck with
me ever since,” he says. "It's embedded
in my DNA. Then again, that’s because
of the emotions, wonder and feelings
that it brought with it. I have always
tried to replicate that in my work. The thought that
I can somehow reach other people with that kind of
strength, or at least try to, is what drives me always.”
When it came to the challenge, he explains, ‘‘What I
did my best to meet was the briefs’ request to always
put a story behind what I was illustrating, even if it was
just designing new vehicles or characters. I am first
and foremost a storyteller, whatever my skills are at
providing a nice piece of art. Every detail, even the
smallest scratch on a speeder, can have a story behind
it, and what I enjoy doing most is just that: to come up
with stories that can bring depth and emotion to an
illustration. To know that I managed to do that was
the greatest compliment I could hope for from ILM.”
The Battle of
Hoth as depicted
by Mario Alberti,
overall winner
of the ILM Art
Department
Challenge.
www.marioalberti.com
[ 18 J THE ART OF FILM: STAR WARS
He can draw like nobody s
business," the judges said.
"There's so much story and
meaning to every frame.
And he framed every board
like a cinematographer."
1
v
A
Hi
WA]
IJB
mmhwi i
Mario is a comics author
and illustrator, working
for both DC and Marvel,
Sergio Bonelli Editore
and other publishers.
*
| 20 J THE ART OF FILM: STAR WARS
Morgan was awarded second
place in the ILM/ArtStation
The French games concept artist brings
experience and emotion to the Challenge
THE ART OF FILM: STAR WARS |_ 21 ]
organ Yon knows first-hand how hard
the job can be. He’s a full-time concept
artist at Ubisoft Montpellier in the
south of France, working on the
Assassin’s Creed franchise among
other games and films. "It's tough,”
he says, "having to switch from one idea to another,
to be quick at rendering and painting. 1 consider my
job a constant battle. But when you achieve your goal
by creating an image that is well welcomed by the
community, it’s a great feeling!"
So how did he approach the Challenge? “I really
focused on storytelling,” he explains. "I tried to stick
to simple shapes and strong moods. I truly love the
colour palette of ’80s movies and tried to keep this in
mind while working on pictures. Star Wars is an epic
adventure, but I tried to depict scenes with emotion -
for example, one with a giant four-legged machine
comes from an old memory of mine: the first time I
saw Jurassic Park and the brachiosaurus scene!”
www.morgan-yon.com
L 22 J THE ART OF FILM: STAR WARS
The judges said Morgan's image
of Leia and Wicket looking at the
sunset (above) is "a great mood
piece, a great piece for defining
a story. ...And who would think
of Han Solo hugging C-3PO?
That's a good idea!"
»
, %
t
All images copyright © Lae as film Ltd./Disney
THE ART OF FILM: STAR WARS [ 23 J
[ 24 J THE ART OF FILM: STAR WARS
A passion for exploring leads to delving
into unanswered questions in Star Wars
THE ART OF FILM: STAR WARS [ 25 ]
red’s life story is almost an adventure
movie in itself: born in Paris, he moved
to Germany to become an engineer at
18 but after two years he switched to
an artistic career. After six years as a
3D artist, he returned to France, where
he freelanced in the advertising and film industries.
After one big project, he decided to backpack around
the world, painting and drawing from South America
to Indonesia, Japan and India. When he entered the
challenge he had settled and started a family in Brazil;
he has since “started a new adventure” in Canada.
The Challenge judges praised Fred’s great colour,
lighting and sense of design. ‘‘Some of his vehicle work
felt evolutionary from Star Wars,” they added: “it could
have been early Ralph McQuarrie. At some points he
was clearly channelling McQuarrie, in terms of the
simplicity of some of the frames, and he knows how
to compose to camera.” Even in his looser sketches,
they said, you could feel the emotion and mood.
.com/artist/calypso
[ 26 J THE ART OF FILM: STAR WARS
I imagined Ralph McQuarrie at
my side telling me to explore this
or that... And that’s what I did
THE ART OF FILM: STAR WARS L 27 j
Fred was
surprised to be
named in the top
three. Initially he
didn't even notice
his name among
the winners.
All images copyright © Lucas film Ltd./Disney
L 28 J THE ART OF FILM: STAR WARS
The Star Wars
Darkside covers
are popular
with fans of
the Star Wars:
Darkness series,
celebrating all
that's evil in
the Star Wars
universe
The Dark Horse cover artist with a taste
for the Dark Side sheds a little light
reating cover
art for the Star
Wars books came
easily to an artist
with Jon's eye
for the dark side.
The majority of Jon’s comic cover
work has been for a number of
Dark Horse Comics’ Star Wars
series. The darker elements and
muted colour palette of his early
years seem to have suited books
that tended towards the dark
side of the Force.
"I enjoyed them because the
art direction went through pretty
painlessly. I had done some
paperback book covers for Star
Wars before and they seemed
to be much more difficult than
the comic books. At the time,
the people I was working with
made it very enjoyable.! felt like
I could do what felt right and
was important, and they were
okay with that.”
www.jonfoster.com
Jon's cover for issue
3 of The Hunt for
Aurra Sing, from a
four-issue special set
All images copyright © Dark Horse Comics and Lucas Licensing
THE ART OF FILM: STAR WARS [ 29 ]
The front cover Jon painted
for the first issue of The
Hunt for Aurra Sing, a mini¬
series which was part of the
Star Wars: Republic series
MEDR
i
NO
n a universe of archetypal characters,
Izzy finds room for one more psycho..,
oncept artist and iilustrator Izzy
Medrano is a story-first kind of guy,
which goes some way towards
explaining his love of Star Wars. “I
love a good narrative,” he says. This
is something that he clearly applied
to his show-stopping illustration The Tyranny of
Lady Vex (right). “Lady Vex was born of a need
to create a good villain for my other character,
Granny Claymore, an old alcoholic hermit that had
lost her connection with the Force,” Izzy explains.
“She made up for it with a huge claymore-esque
lightsaber. I figured that with a strong punkish
personality like hers she’d need a decent foe.
Enter Lady Vex.”
Izzy came up with the idea for his villainous
character during an impromptu sketching session.
“I imagined Vex as being completely insane,” he
explains. “She is driven by a sense of psychotic
justice, dealing in absolutes.” While he was thinking
THE ART OF FILM: STAR WARS [ 31 J
All images copyright© Lucas film Ltd./Disney
[ 32 J THE ART OF FILM: STAR WARS
Izzy's character Granny
Claymore is an old alcoholic
hermit who has lost her
connection with the Force
[The Star Wars
universe has] strong
archetypal characters.
Iconic design makes
them work
THE ART OF FILM: STAR WARS [ 33 ]
through his creation, he had iconic Star Wars design
at the forefront of his mind. "The original Star Wars
concept artists and model makers are, of course, huge
influences," he comments. "In the new films, the work
of illustrator and conceptual designer lain McCaig
blew my mind. ,J
But just what is it about Star Wars that keeps
driving artists to create new work? "It’s the universe
and strong archetypal characters,” Izzy argues.
"Iconic design makes them work. From acting to
costume, story to voices, they are complete and
clear characters, who aren’t muddied in ambiguity.”
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L 34 J
THE ART OF FILM: STAR WARS
Living in sunny Spain, the artist is drawn
to a jungle world of permanent storms
Cecilia GF takes
advantage of the
scope of the Star
Wars universe to
find the perfect
setting for her
brooding Sith
warrior: the
Dark Temple on
Dromund Kaas
alaga, on Spain’s Costa Del Sol,
is renowned for its year-round
sunshine. It’s ironic, then, that
Malaga resident Cecilia Garcia,
a self-taught artist with a degree
in art history, is drawn to the Dark
Side and loves the rain.
Cecilia GF, as she signs herself, is a freelance
artist who aims to work in the video games or
film industries. Inspired by the Dark Side of the
Force, she sought to capture the impact of a
character within a brooding scene set in the
Expanded Universe’s Dromund Kaas, capital
of the Sith Empire.
“Given the fact that I’m a lover of the Dark Side
of the Force and I love the rain,” Cecilia explains,
“Dromund Kaas came to my mind. I thought of
Korriban too but I wanted to see how the light of
the lightsaber looks in the rain, so this planet would
be perfect. Besides, Dromund Kaas seems to me a
special place that contains all of that power of the
Dark Side, with ruins and fascinating creatures.”
Cecilia loves to explore the Star Wars universe in
her personal paintings. Its sheer immensity means
it leaves itself open to the imaginations of artists
to add their personal visions, says Cecilia: “It’s an
exceptional sci-fi universe where George Lucas
created a base, and from that, anyone can make
it grow without the need to be ‘canonical’.
“There are other universes that are not free for
interpretation, but Star Wars is not like that,” she
elucidates. “The fan has total freedom because
there are no restrictions - you can create cute
illustrations or a painting with a dark theme.
War scenes and everything is okay, because
Star Wars contains all of them.”
THE ART OF FILM: STAR WARS [ 35 J
* .
. •
' ■
V
1
Korriban (right)
reflects Cecilia's
hope that there
are more people
sensitive to the
Force in the
galaxy, not just
the Skywalker
family, the
Emperor, Yoda
and Obi-Wan...
All images copyright © Lucas film Ltd./Disney
THE ART OF FILM: STAR WARS
L 36 J
Andy's painting of
Jango Fett is one of a
series of profile views of
key Star Wars characters
- Boba Fett is another
Unusual compositions and symmetries make the
Welsh artist’s work stand out from the crowd
fter being
commissioned
to create a
poster series for
Acme Archives
and Bottleneck
Gallery to coincide with Star Wars
Celebration, Welsh freelance
artist Andy Fairhurst struck on
the idea of painting three pivotal
characters from the original trilogy
in moments of reflection. “I like the
central symmetrical positioning
of them, and I tend to work that
way a lot,” says Andy, who has
been painting digitally for over
10 years. Recently he’s ventured
into alternative posters and movie
art prints.
As for his love of Star Wars, he
says: "For me personally, it was the
start of everything regarding art. I
was five when I saw it and, when
I returned home from the cinema,
I drew a space battle scene, That is
my earliest memory of drawing. It
still inspires me now after all these
years - decades later! I don’t quite
know what it is but it has a strong
hold over a lot of people and is
responsible for the start of many
an artist’s career, It’s just magical.”
And why does Andy enjoy
painting Boba Fett so much? “It is
as simple as: he just looks so cool.
He is Clint Eastwood in space. He’s
always been my favourite - well,
since Empire, anyway - and was
the inspiration behind countless
badass characters since.”
mdyfairhurstart.com
L 38 J THE ART OF FILM: STAR WARS
THE ART OF FILM: STAR WARS [ 39 j
A striking image of
X-Wing fighters based on
the Episode VII trailer
Andy's three official
posters for Acme Archives
and Bottleneck Gallery
feature distinctive
symmetrical compositions
THE ART OF FILM: STAR WARS
[40 J
Crafting a dramatic scene in
the Clone Wars continuity...
ai created this
striking image as
part of a Clone
Wars competition,
“I wanted to do
a truly dramatic
image - not just compositionally
but thematically dramatic, in the
first portion of the show, Ahsoka’s
skill puts her in danger constantly.”
For Kai, ‘‘the thing that pops
about Star Wars is the operatic,
grand scale of the drama. Lucas
went to such lengths to fit the
story to a mythological model, and
his work paid off! The story is pure
mythology, and that’s a powerful
draw on people all over the world.”
Kai is hugely inspired by a man
many other artists admire: "Ralph
McQuarrie breathed such life into
Lucas’s concept, and his designs
were worthy of such a grand
vision. The first, and the best!”
Though he prefers traditional
techniques, Kai turned to his PC
for this piece. “I don’t actually
work digitally anymore and, even
THE ART OF FILM: STAR WARS L 41 ]
"Ahsoka's Trial"
abounds with telling
details that point the
viewer towards a
compelling story
then, this was a little unusual in my
choice to do it on the computer,”
he says. "But my techniques are
much the same in both mediums.
I start with a coloured ground,
generally either a sienna or ochre.
Then I usually sit and look at
the blank canvas for an hour or
two, envisioning the whole piece
and making notes. When I start
to paint, I paint thinly at first
and thicken the brush strokes
as I go. Rather than creating an
underpainting and working up
gradually all over, I tend to prefer
to establish different parts of
the composition and link them
together to form the finish - I think
probably because I’m impatient to
get to what I saw during that two
hours at the beginning!
"It’s got to start with a story.
That’s really what pulls me
through the whole thing. And
as I go from there, the details
fill in - Ahsoka having snatched
Anakin’s lightsaber from him to
defend them, for instance. I liked
the idea of getting the cold, misty
environment involved by having
the lightsabers issuing steam as
they move through the air.”
Kai is excited about the new
film. “It really looks like it’s got
something that the original
three had,” he says, “particularly
the physicality of the effects,
simplicity of design and grandness
of vision. I can’t wait to see more
of that ruined post-war universe!”
eviantart.com
All images copyright © Lucas film Ltd./Disney
[ 42 J THE ART OF FILM: STAR WARS
Malcolm deftly
captures the essence
of the characters,
the tech and the
atmosphere of the
landmark film
All images TM & © Luc as film Ltd. LLC. All rights reserved.
THE ART OF FILM: STAR WARS L 43 ]
From an illustration studio on the (relatively) sunny
south coast of England to a galaxy far, far away...
ournemouth, on
the south coast
of the British
Isles, is a seaside
resort best known
for its proximity
to the Jurassic Coast. It is also
home to Digital Progression, an
independent UK production studio
specialising in 3D/CGI, creative
retouching and post production,
where Malcolm Tween has created
artwork for Lucasfilm among a
diverse group of other clients.
What inspired your paintings?
Usually trying to come up with
something that's not been done
before, also something that’s not
seen directly in the films,
Why does Star Wars keep driving
artists to create new work?
There’s a huge amount of source
material. It also helps that there’s
some of the greatest, most iconic
production design ever created.
Do you have a favourite Star Wars
artist who has inspired you?
Well, there’s a lot of fantastic
Star Wars stuff but I always liked
Noriyoshi Ohrai, John Berkey and
of course Ralph McQuarrie. Phil
Noto’s work is always brilliant.
Can you tell us a little of how you
work? What is your process?
Usually it will start with a quick
Photoshop visual. For the final
image I'll usually model a simple
version of any of the ships/
hardware in 3DS Max and use
this for the basic perspective
and lighting, then the rest is
painted in Photoshop.
Do you approach your personal
Star Wars work differently to
commissioned art?
Even on the work for Lucasfilm
there’s quite a lot of freedom, but
with some of the Star Wars work
it’s largely the only time I get
completely free rein.
What makes a great character like
Darth Vader or Luke work?
Great design and characterisation,
but also the legacy of Star Wars
hi
Even if someone’s
never seen the films,
they are still aware
of the characters and
what they represent
over the years has elevated
everything into something much
more iconic. Even if someone’s
never seen the films, they are still
aware of the characters and what
they represent.
Are you a Star Wars fan?
Absolutely! As a child in the
70s it was by far and away my
most important pop culture
influence! Don’t ask me about
the prequels, though...
So, how excited are you about
the next films?
Cautiously optimistic...
www.digitalprogression.co.uk
L 44 J THE ART OF FILM: STAR WARS
Malcolm's deep
affection for the
original trilogy
shines through
in his evocative
AT-AT and Hoth
Evacuation
Celebration prints
THE ART OF FILM: STAR WARS [ 45 ]
Desert Sands
was offered as
an exclusive
print at Star Wars
Celebration 2015
Anaheim through
Dark Ink Art and
Acme Archives
| 46 J THE ART OF FILM: STAR WARS
THE ART OF FILM: STAR WARS
L 47 J
The prolific artist of “many thousands” of
cards for Topps is still as big a fan as ever
The Legend of
Thrawn was
Grant's limited-
edition print for
Celebration 2015
hree years old
when the first
movie came
out, Grant still
remembers his
dad taking him to
see each movie on opening day,
and his parents would buy him the
action figures. “It was a massive
part of my childhood; 1 he recalls,
"and I’ve been a fan ever since. I’ve
been doing freelance Star Wars
work for both Topps and Lucasfilm
now for over ten years, everything
from cards to kids’ books to
comics, and I still to this day have
to occasionally pinch myself. I'm
living my childhood dream! Star
Wars still stirs something inside of
me. It's my childhood mythology.
It’s a huge part of who I am.”
Star Wars has also been a large
part of Grant’s working life. “My
very first professional illustration
job was a sketch card gig in 2005,”
he explains, "drawing 1,000 sketch
cards for the Topps Star Wars:
Revenge of the Sith set, I was
probably in way over my head,
but it ended up being a crazy,
great jumpstart for my freelance
illustration career. It led to other,
bigger jobs, so the sleepless nights
were worth it.
“In the years following, I did
many more card sets, and many,
many more sketch cards,” Grant
continues. “I had a blast working
on the Clone Wars web-comics
for StarWars.com a few years
back, and I loved working on the
kids' books Draw Clone Wars and
Draw Rebels for Klutz. I’ve been
so lucky in that I’ve worked on
several amazing Star Wars related
projects. Luckily, the Star Wars
universe has such a huge cast of
characters, it’s almost impossible
to run out of things to draw!”
Grant's latest Celebration poster
features some core characters.
“I’ve always been a huge fan of
Timothy Zahn’s Thrawn Trilogy,”
the artist reveals. “When those
books came out in the early ’90s,
it marked the end of a Star Wars
dry spell. All my childhood heroes
were back - Luke and R2-D2 and
everyone else! It was momentous,
and of course Thrawn himself is
just the coolest villain. Me was so
calm and intelligent and thoughtful
- very much the opposite of Vader.
So I thought it'd be cool to pay
tribute to those books, as well as
the graphic novel adaptations of
those books, which I also loved.
It’s essentially my love letter to
that series. The title The Legend of
Thrawn,” he concludes, “is sort of
a wink at the fact that now those
books are called 'Legends' - that
is, no longer canon.”
Grant is eloquent about his own
emotional attachment to all the
original characters. “I think for a lot
L 48 J THE ART OF FILM: STAR WARS
Grant drew 50
full-colour sketch
cards for the Star
Wars Masterwork
set for Topps
of kids, Han Solo was the first true
rebel or scoundrel that they got
to know, the bad boy who lived by
his own rules. Me, I was always a
Luke Skywalker kid. I loved Luke. I
felt a connection to Luke. He was
sorta the dorky farm boy in the
beginning, dreaming of bigger
things, and I was a nerd in school
who dreamt of bigger things.
And then I grew with Luke over
the course of the movies. We saw
real change and development in
those characters, and that’s what
really gives you that emotional
connection and investment.”
As an artist, Grant was inspired
by some of the X-Men artists of
the ’80s, such as Arthur Adams
and Marc Silvestri, plus Wendy and
Richard Pini’s ElfQuest series, and
also the artwork of the Dungeons
& Dragons RPG. His own standard
process for the past ten years, he
reveals, has been to draw each
piece by hand using pencil and
marker (“Faber-Castell PITT brush
pens are my favourites”), then
scan the drawing in and colour it
digitally in Photoshop.
“I’m actually kind of a dinosaur,”
Grant laughs, “because up until
January of this year I still coloured
everything with a mouse, I finally
joined the 21st century and got a
Cintiq a few months ago, so I’ve
been teaching myself how to use
it. It’s still tricky for me getting
used to actually drawing digitally
instead of using pencil and pen,
but I’m enjoying it quite a bit. As
for sketch cards, which I used to
draw a lot of earlier in my career
but not so much in recent years,
I would colour those by hand
using Prismacolor or Faber-Castel
colour markers.”
Unsurprisingly for such a
fan, Grant is looking forward to
more films in the acclaimed film
series from the great mind of
George Lucas. Actually, he says
"I'm beyond excited. The idea of
another new film that continues
the stories - man, that's just
amazing. I'm just excited about
the whole thing. And, yes,” he
concludes, he’s thrilled to see all
of the new characters that will
be introduced. “I have no doubt
that they will be awesome and
grab our imaginations and inspire
artists new and old. It's a fantastic
time to be a Star Wars fan!”
© Topps & Lucasfilm Ltd. All Rights Reserved.
[ 50 J THE ART OF FILM: STAR WARS
The Chinese-born concept artist was a
hit in the ILM Art Department Challenge
oncept artist and
illustrator Fan Gao
was born and
raised in China,
then moved to
the US for school
in 2010. He graduated from Art
Center College of Design with
honours in April. His work received
Honourable Mention in the 2016
ILM Art Department Challenge
(see page 12), so we spoke to him
to find out more about his entry.
What do you do as a day job,
and where are you based?
I am currently based in Los
Angeles and working as a
concept artist at One Pixel Brush.
I specialise in environment design,
architectural design, vehicle design
and many other kinds of hard-
THE ART OF FILM: STAR WARS [ 51 J
surface design. In the past two
years I’ve worked on some triple~A
game projects including Destiny
and the Call of Duty series. I also
freelance for film projects and
collaborate with production
designer Alex McDowell.
When did you first hear about the
ILM Art Department Challenge on
ArtStation? Were you confident
when you entered it?
I heard about it two weeks before
the end of the registration. And
yes, I was confident I'd be among
the winners!
You produced quite a lot of art
for the Challenge... How did you
choose what art to submit?
Composition and storytelling are
the key elements I consider the
All images copyright © Lucasfilm Ltd./Disney
L 52 J THE ART OF FILM: STAR WARS
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WR;I3T fiJ :V--
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THE ART OF FILM: STAR WARS [ 53 J
The first of the challenges
was to create a new story
moment set within the worlds
of the original trilogy and
using only existing vehicles,
creatures and characters
ii I have always wanted to capture the epic
moments between Star Wars characters and the
iconic vehicles and props, adding my own take
most during my selection process.
My goal is to balance those two
aspects but also clearly depict
the characters, the functionality
of the vehicles, or the architecture
that may be in the painting. For
example, in my hoverbike chase
scene [below left], I created a
narrow space that was easy for
the hoverbike to glide through
but difficult for the AT-ST walkers.
The hoverbike and character are
easily turning around the building
as the shooting scene is depicted,
but note that in this space, the
building is intentionally designed
with cylindrical features to
emphasise the ease of turning.
What feedback did you get, if
any, from the ArtStation team and
from the ILM panel of judges?
It was a privilege to have received
feedback from the ILM Creative
Director, David Nakabayashi,
during the winner announcement
video. He noted that my work was
simplistic with great composition,
not over-crowded, easy to read,
and that I had understood the
brief. He also mentioned that
he loved my vehicle design work
and felt that any of the things
I designed could have been in
Star Wars Episodes 4, 5 and 6.
What is it about the Star Wars
universe that you have tried to
capture in your art?
I have always wanted to capture
the epic moments between Star
Wars characters and the iconic
vehicles and props, or when they
are in the architectural spaces,
while adding my own take to
make it unique and energetic in
a different way.
What do you learn from this style
of competition? Is it as if you’re
doing the job of a concept artist?
I learned that storytelling probably
is the most important thing in
concept art. Sometimes a concept
artist needs to sacrifice tight
renderings, perfect compositions
or minute details in order to tell a
better story due to limited time.
This image is another of
Fan Gao's Moments. Far left:
the second challenge was to
design new vehicles within
the aesthetic of Episodes 4-6
_
*•
■
£
[54 j
THE ART OF FILM: STAR WARS
"Vader was the first painting I did for
Lucasfilm. I didn't know it was going
to change the rest of my life"
The artist
character
talks about his unique perspective on
portraits that reflect memorable scenes
hristian Waggoner has earned a
reputation for his incredible portraits of
the most famous Star Wars characters
in unique compositions, but how do
they come about? “The way I decide
on composition and concept for a Star
Wars painting is by the character,” he explains. “What
kind of features do they have? How big are the eyes?
Do I need to zoom in or zoom out on the piece?”
Christian's process begins with a concept, which is
then submitted to Lucasfilm for approval. “The most
challenging Star Wars piece I’ve painted is Greedo,” he
adds, “just for all the scales and the intricacies of his
face. But the funnest painting would be R2-D2 - it just
came together so fast, so easy... effortless!”
So what does Christian believe makes a good
character design? “What I think makes a good
space character design is movement in the mask,
the intricate play of light and darkness,” he says. “Or
sometimes it’s the ruggedness of someone like the
Boba Fett character - sometimes it’s how cool the
character is that makes your design even better.”
Christian’s relationship with Lucasfilm began in
2007 at the New York Art Expo, where he was named
one of the emerging trend-setting artists of the show.
“People from Lucasfilm approached me and asked me
if I would like to do a 30th anniversary piece of Darth
Vader,” explains the artist. “I was more than excited, as
it came on my 36th birthday. When I did the first piece
I thought it was a one-shot deal, but the Vader piece
went over so well they asked me to do another one,
then another one and another one.”
Christian says he believes the Star Wars universe is
still so popular because “all ages can relate; good and
bad... Good overcomes evil...”
With Episode VII proving a hit, Christian is prepping
to create new Star Wars paintings. “J.J. Abrams made
all the characters better and even brought new ones
in,” says Christian. “I love seeing how the helmets will
evolve through time, so I can basically redo all my
characters and have a second calendar come out.
Old meets new.”
www.christianwaggonerartist.com
THE ART OF FILM: STAR WARS [ 55 ]
All images copyright© Lucasfilm Ltd./Disney, All Rights Reserved.
L 56 J THE ART OF FILM: STAR WARS
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A painter of landscapes and
cards brings the two together
hen the opportunity came to do a
new Star Wars painting, Doug Cowan
reveals, 1 knew immediately that I
wanted to do an image that was new
but still familiar. I recalled Frank Tenney
Johnson’s nocturnal paintings of the
American West, and I felt that his depiction of life on
the frontier shared a mood that I was searching for.
Those paintings, along with Remington’s later works,
portrayed many qualities that could be transposed
successfufly into the world of Star Wars. I depicted my
own version of a rider on horseback, but this time as a
Stormtrooper deployed on the edge of the universe.”
What is it about Star Wars that inspires artists to
keep creating new work?
Star Wars is a captivating story and the world it
takes place in is varied and elaborate. There are many
characters, stories, and settings to explore in what
seems like an infinite number of ways. Each artist
is able to approach these things from their unique
perspective. Behind all of this is a lot of great artwork
THE ART OF FILM: STAR WARS [ 57 ]
and design done during the creation of it that also til depicted my own version of a
captures your imagination. r , , - - i i • i
frontier rider on horseback with
Do you have a favourite Star Wars artist or poster
artist who has inspired you?
It’s difficult to select an individual because there
have been so many good artists who have worked
on Star Wars. They come from diverse backgrounds
too - comics, illustration, preproduction, fine art,
among many others. Kazuhiko Sano’s poster artwork
for Return of the Jedi has appealed to me since 1 was
very young and may be the earliest memory I have
of Star Wars art.
the mood of the American West
the time came to do the larger, final artwork, I blocked
in the main elements of the composition with loose
brushwork. When I felt everything was in place, I
began painting in a very direct manner. I like to start
with a portrait or critical area to guide me and give me
confidence throughout the rest of the painting.
Can you tell us a little about how you work? What is
your process?
I paint oil on linen or panel, depending on the needs
of each picture. I often do a small series of sketches
in ink or watercolour until I have a refined idea of what
I want to pursue. For my Outpost painting, I also did
a scaled-down study in oil to address the colour and
work out any details that! was still debating. When
Do you approach your personal Star Wars work
differently to commissioned art?
I approach all my paintings the same now, be it Star
Wars or not, because I feel that this will allow me to do
my best work and to employ the traits unique to me.
If there is a difference between my Star Wars art and
my other work, it will be during the sketching phase.
I begin many of my other paintings without many or
THE ART OF FILM: STAR WARS [ 59 ]
"Topps asked
me to reimagine
the classic
film poster art
for Star Wars
Illustrated:
The Empire
Strikes Back"
Bounty Hunter
was created in , / _ { f 0 A * *7 ^
oils on panel for j
Acme Archives
any sketches, but because most of my Star Wars art
will be used by a client it is often necessary to convey
an idea beforehand.
What makes great characters like Darth Vader or the
Stormtroopers work?
i think it begins with how they are portrayed and fit
into the story, These characters have lasted so long
probably due to them being fascinating on several
different levels. Darth Vader holds your attention
and curiosity as a character, but also his appearance,
sound, and even his musical themes contribute to his
lasting legacy Visually, he is a bold character to put
into your artwork and has been the focus of many
great works. This is true for many of the characters
in Star Wars.
Are you a Star Wars fan?
I am a Star Wars fan and there has never been a
time without it, having grown up after Return of the
Jedi. I think being a fan has benefited me in that I
can approach Star Wars subjects from an informed
perspective, aware of the history and many subtleties
found in the characters and locales.
Is it difficult painting imagined characters and
scenes? How to you give them believability?
Every painting will have its own challenges whether
you’re working from life or imagination. I like to gather
reference for as much as I can, even if it is not directly
The more understanding I can
acquire of a subject or setting will
help me make better choices
used. The more knowledge or understanding that I
can acquire of the subject or setting will help me to
make better choices. With Star Wars, i don’t really
have access to models or props, so the most difficult
part is usually piecing all these elements from different
sources together in what seems like a seamless image.
What was your latest Star Wars related project?
In 2015, I was hand-picked by Lucasfilm to be among
a small group of artists selected to work on Topps’
Star Wars: The Force Awakens trading card set. I
contributed character sketches and did over 20
character paintings in oils.
Do you have any future projects you can reveal?
There are several upcoming trading card projects
that I will likely contribute new artwork to, as well as
an opportunity to create some limited-edition prints
for both Star Wars and other properties. There is also
another Star Wars Celebration on the horizon. I am
busy continually painting on my own as well.
[ 60 J THE ART OF FILM: STAR WARS
FLEMING
Inspired by the work of classic film poster artists,
Hugh paints Rey and BB-8 from The Force Awakens
ugh is an Australian
artist whose Star
Wars credits include
covers for Dark
Horse Comics and
illustrations for Star
Wars insider magazine, where his
popular Star Wars Rock Band art
first appeared. This painting is a
commission piece illustrating Rey
and BB-8 from Episode VII.
"As a great movie buff and long¬
time fan of the great poster artists
Drew Struzan and the late Richard
Movie characters are the thing I
love to paint the most. And of course
I’m mad keen on Star Wars
Amsel,’ 1 Hugh enthuses, “this is an
ideal assignment for me. Like those
two illustrators I’m a portrait artist
at heart, and movie characters are
the thing I love to paint the most.
And, of course, I’m mad keen on
Star Wars!”
At the time of this commission,
The Force Awakens had yet to be
released, so Hugh knew very little
about how Rey and BB-8 are
related within the narrative of the
movie, but he was confident that
pairing them in a montage was
appropriate. “I like the flexibility
that montage affords. Elements
can be juxtaposed in a figurative
manner to convey a relationship
between characters or get a
sense of a world. You can have
fun with a design without having
to reconcile disparate lighting
conditions of reference shots,
or manage tricky perspective.
“A challenge here was to fashion
a relatively singular composition
from limited reference materials,
while also trying to preempt
choices likely to be made by
other eager fan artists keen to
express their enthusiasm for the
new movie. My painting needs to
stand out from the crowd.
“I also find it’s useful to combine
reference into new combinations
to keep things fresh. Rey’s head,
for example, will be swapped out
with another of superior resolution
to create a unique pose.
“I’m essentially self-taught and
have had only minimal formal
training as an illustrator,” reveals
Hugh. "Consequently, I’ve lent
on my intuition far more than I
probably should have, and my
technique has now settled into
a perpetual argument between
pencil and acrylics - each medium
contradicting and correcting the
mistakes of the other until a
balance is achieved.”
D^ifxm.ag/hugh-fleming
THE ART OF FILM: STAR WARS L 61 ]
X •
■ .
■ ,
[62 1
THE ART OF FILM: STAR WARS
THE ART OF FILM: STAR WARS L 63 j
Matt's favourite
Star Wars art is
his poster for the
20th anniversary
of Dark Empire
from Dark Horse
The talented artist shares his love of Star
Wars and passion for unique illustration
att Busch is famed
for his Star Wars
art, including the
cover of NY Times
bestseller Tales
from the Empire
and nearly 400 pieces for the You
Can Draw Star Wars book from
Lucasfilm and DK Publishing. His
most recent Star Wars related
work is an art print created for
the 2016 Star Wars Celebration
Europe titled Rey’s Vision, inspired
by the awesome dream sequence
when Rey first touches the
Skywalker lightsaber in Star Wars
Episode VII: The Force Awakens.
It captures Rey’s visions of past,
present and future, all collected
into an evocative montage.
What inspired Encounter on
Panna Prime?
It’s based on the first appearance
of Boba Fett, in the Star Wars
Holiday Special on TV in 1978. It’s
all pretty hard to watch (and was
then), but the cartoon portion that
included him was pretty cool, even
by today’s standards. So I thought
it would be fun to take an iconic
scene from that and bring it to life,
the way it might have looked if it
was filmed live-action.
It was only a cartoon, which
presented many challenges.
There was no photo reference
of a Panna Dragon whatsoever,
let alone Fett riding one, or a
6 Star Wars has
inspired so many artists
because its universe is
so vast, there are no
limits to the visuals <5
Y-Wing Fighter floating in the
water. This meant working with
models and even sculpting my
own Panna Dragon to get the
lighting just right.
What is it about Star Wars that
drives artists to create new work?
n my opinion, it’s the imagination
of it all. It’s so vast in its worlds,
from incredible locations, all kinds
of characters and alien creatures,
to the tech, vehicles, starships and
weapons, there truly is nothing like
it. Star Wars has inspired so many
artists working today. I think part
of the inspiration comes from how
big the universe, or “playground”
as I call it, is. There are no limits to
the fantastical visuals.
Who has inspired you?
For a long time it was Drew
Struzan, who is most famous for
the iconic movie posters. But that
inspiration was mostly due to his
textured technique, which still
inspires me today. However, as I
get older, and moving into more
concept art with my own creative
endeavours, I’m finding so much
inspiration in Ralph McGuarrie
and Joe Johnston, who were the
primary illustrators who designed
the look of Star Wars and all of
the characters, vehicles, and
tech. They are the ones who really
made Star Wars what it was and
All images © Lucasfilm Ltd. All Rights Reserved.
| 64 J THE ART OF FILM: STAR WARS
THE ART OF FILM: STAR WARS
[65]
Matt recreates
some classic
scenes, including
these for the Star
Wars Illustrated
card series
the visual candy we all draw
from today.
Tell us a bit about how you work...
I usually begin with an idea, and
sometimes it’s not even my own
if Lucasfilm or one of the licensed
companies has something specific
in mind. I take that idea and begin
to doodle it out visually, usually in
a sketchbook. I like doing all of my
prelim sketches and scribbles in a
sketchbook to collect them all,
otherwise on random scraps of
paper they often get thrown away.
A sketchbook keeps it all together,
and it’s fun to flip through and
revisit the idea process later, i’ll do
several thumbnails trying to work
out the best composition I can to
make it dynamic and tell the story
I want the image to convey.
From there, it’s a hunt for
photographic reference. My art
is stylised and not completely
photo-realistic, but it’s realistic
enough that any photos I can use
for reference will help me with
likeness, lighting, continuity, and
just making it all look real - or at
the very least, believable. This
usually means digging through my
collection of Star Wars books and
reference files, but also searching
online for something I might not
already have. In some cases I’ll use
spaceship models and take my
own reference to get the angles I
need, and have friends come over
to dress them up as characters
and model certain poses for me.
Once I have the reference I need,
I can finally begin on the actual
art. I usually begin with pencil on
illustration board. I often paint
white acrylic gesso on it first to
give it a textured look that stays
through the entire process. I prefer
to draw with a lead holder (2B
leads) so that the pencil never
whittles down to a stump when
sharpening. Basically I’m drawing
exactly what I had in my chosen
thumbnail sketch, but now am
using the reference to make it
more accurate and detailed.
Once it’s completed, this step
usually goes to the editors for
approval. The approval process
can take anywhere from days to
tt I find it difficult to
produce art digitally
from scratch but I love
running things through
the digital mill
weeks, so once I get the green
light I’m pretty excited to finally
move in to paint and bring the
vision to life. My technique would
appear to be traditional acrylics,
but more and more the final result
ends up being nearly half digital.
I begin the painting process with
actual paint. I start with acrylic
washes - just acrylics watered
down to a watercolour-like
consistency. Sometimes HI break
out an airbrush if I have large soft
gradations in the sky or a glowing
lightsaber. I then use opaque
acrylics, which are the same
ones only not watered down, for
highlights or any edges that need
to sharpen back up. Lastly, 111 use
THE ART OF FILM: STAR WARS L 67 ]
L 68 J THE ART OF FILM: STAR WARS
colour pencils to refine any details
I wasn't able to get with the paint.
When the physical painting is
complete, it's time to bring out
the digital guns, To get it there, I
either scan the painting in (usually
in pieces and stitch together) or
take a high-res photo. Adobe
Photoshop is my weapon of
choice. While I find it difficult to
produce art from scratch digitally,
I absolutely love taking something
I've done by hand and running it
through the digital mill to play
with and steer to the place I want
it to be. Here I can fix mistakes
pretty easily, but also test overall
colour and contrast to really get
the painting into the aesthetic
atmosphere I originally intended.
If the client demands any changes,
these are done digitally as well.
Do you approach personal work
differently to commissioned art?
I do! Anything I do for Lucasfilm
or one of the licensees, I’m always
trying to work with what exactly
the client has in mind. They are the
ones paying my bills, so I need to
deliver. I may not always agree
with the angle they’re taking, but I
let the ego go and try to give
them the best 1 can.
In situations like the Star Wars
Celebration Limited Edition Art
Prints, I not only get to show my
artsy side, but get to dive deep
into the Star Wars lore and show
an interpretation that the licensees
might not have wanted to risk. I
enjoy these opportunities because,
for the most part, I get to run free.
What makes a great character like
Darth Vader or Luke work?
There are so many reasons why
the characters work, but since this
is a visual magazine (not a writing
or philosophy one) I’ll stick with
that. Many of the iconic Star Wars
characters are faceless, like Darth
Vader, Boba Fett or even R2-D2.
There’s an intriguing mystery there
that keeps the audience on their
toes, it’s one of the reasons why I
believe the prequels weren’t as
strong: they revealed who’s behind
these masks. That immediately
takes the mystery away.
That said, the polar opposite of
that would be Luke, who you also
mentioned. Visually, especially in
the first film, he appears to be the
boy next door. He lives a bland life,
but he’s a dreamer. He's someone
we all can relate to, and that’s key.
You want the audience to identify
with your protagonist.
Are you a Star Wars fan?
I’m a huge Star Wars fan! The first
movie came out when I was four,
the perfect age for it to really
explode my imagination, and the
saga has evolved through the rest
of my lifetime. One of the reasons I
enjoy working on Star Wars
material so much is because it
really brings me back to that
magical place of being a kid. That
sense of wonderment is often lost
with adults. Pablo Picasso once
said that “The child is the true
artist. The difficulty is figuring out
how to stay an artist when
growing up.” I firmly believe that.
Do you have a favourite Star Wars
painting you’ve done, and why?
THE ART OF FILM: STAR WARS [ 69 j
One reason I enjoy
Star Wars material so
much is that it brings
me back to the magical
place of being a kid
[ 70 J THE ART OF FILM: STAR WARS
Si My goal was never
just to work for George
Lucas, it was to become
George Lucas, to make
mv own Star Wars
At the moment, I’d say the poster I
illustrated for the 20th Anniversary
of the Dark Empire graphic novel
is my favourite. For one, I really
enjoyed that series as a fan, and
it was really what kicked my butt
into gear when I was trying to
break in as a professional artist.
But I’m also really proud of the
composition and the colours. I
feel it represents the tone of that
comic series well.
Do you have any future projects
you can reveal?
The big project I immerse myself
in whenever I get the chance is
my magnum opus: Aladdin 3477.
It’s a live action film based on the
story of Aladdin but set 1,500
years in the future. I wrote the
screenplay and I’m directing it
currently. It’s been a passion
project of mine in the works for
over 20 years, but it’s really been
moving forward in production in
the last couple of years. It’s
coming out fantastic, but we have
another year's worth of shooting,
with a hopeful 2018 release.
In addition to writing and
directing, I’m putting all of my
skills to the test, so all of the
concept art is mine, and I’m
storyboarding each and every
shot in the film. I’m designing
everything about it, so for better
or worse, the final product will be
a look into my head! To be able to
begin with concept paintings of
how I want things to look and then
see them come to life on camera,
it’s been such a thrill.
It's funny, working freelance
for Lucasfilm, many people have
suggested over the years why
don’t I just work at Lucasfilm for
George Lucas? While working on
Star Wars has been a dream come
true, my overall goal was never
just to work for George Lucas, it
was to become George Lucas! 1
wanted to make my own Star
Wars, so to speak. So the ability to
work with friends and collaborate
with other professionals to bring
this vision to the screen... I’m
having the time of my life!
www.mattbusch.com
© Topps & Lucasfilm Ltd
THE ART OF FILM: STAR WARS [ 71 J
StarWars.com asked
IVIatt to reimagine Star
Wars with zombies. He
did it six times over...
L 72 j THE ART OF FILM: STAR WARS
The games concept artist captures all the
fun and adventure of the classic trilogy
ne of the five
entrants to receive
Honourable
Mention in the
2016 ILM Art
Department
Challenge (see page 12), Matt
Rhodes is a lead concept artist at
the game developer Bioware in
Edmonton, Alberta, Canada.
When did you first hear about the
Challenge on ArtStation? Were
you confident when you entered?
I was sitting at my tablet at home
thinking “what should I draw
next?”, decided to take a break
on ArtStation, and there it was! I
was not confident when I entered.
I visit ArtStation regularly - I
know what kind of artistic alpha-
predators swim in those waters.
It was hauntingly silent during
the competition. Once or twice I
got a “like” on one of my posts,
but without context I didn’t know
if I should be thrilled or if hundreds
of people were getting them too.
An unseen moment depicted
by Matt Rhodes. The judges
said "He has the uncanny
ability to put himself into his
images. And he looks like
he's having so much fun. He
brings that to every image"
V
All images copyright©Lucasfilm Ltd/Disney
THE ART OF FILM: STAR WARS [ 73 j
Another moment conceived
by Matt: "Boba Fett is sent to
Yavin to kill Mon Mothma but
ultimately fails his mission
when he underestimates her
diplomatic prowess"
THE ART OF FILM: STAR WARS L 75 J
■a
The Turtle: "I wanted to design a
vehicle whose primary job was to
showcase my favourite aspects of
Star Wars: swashbuckling, peril, co¬
operation, and a dirty, lived-in world"
What is it about the Star Wars
universe that you have tried to
capture in your art?
I tried to capture what I love
about Star Wars: the adventure,
the fun, the storytelling. It’s a
wish-fulfilment IP, full of perils
that heroes are always equipped
to oppose if they believe in
themselves and don’t give up.
What did you learn from this style
of competition?
I learned that the instincts I’ve had
for a couple years were correct:
storytelling is the most important
element of what we do as artists.
It’s a good thing to work on the
grammar of art - things like
anatomy, drapery, perspective,
rendering, all of that - but they’re
just a tool, a means of telling a
story. People have a tendency
to confuse them as an end in
themselves. An illustration without
a story is a pretty boring thing.
http://ifxm.ag/matt-rhodes
[ 76 J THE ART OF FILM: STAR WARS
All images © Fantasy Flight Games & Lucas film Ltd
THE ART OF FILM: STAR WARS L 77 j
TONY
Taking influence from the
old to create the new...
rtist Tony Foti has a longstanding
working relationship with Star Wars,
including designing some of the
figures for Fantasy Flight’s top-rated
board game Star Wars: Imperial
Assault. But it’s the design of the
original trilogy that has influenced his painting more
generally. “I often wonder how much of the inspiration
for Noth (and making everything fairly white in and
around Echo Base) in Empire Strikes Back was just
so they could have Vader tear through it in that black
armour,” he says, referencing his own art (above).
In contrast to Vader, Luke Skywalker is surrounded
by life in Tony’s painting (top). "It wasn’t until the
colour study that I realised just how much green was
going to be in this illustration,” Tony notes, "at which
point it sort of became the theme.”
In Jedi Shadow (left) Tony’s love of designing
lightsabers shines: "I like to make sure every Jedi
has a unique and interesting one!”
www.tonyfotiart.com
L 78 J
THE ART OF FILM: STAR WARS
i
i
RON
The visual effects director and prequel concept
artist reveals his abiding affection for Star Wars
rt director Aaron
McBride has
worked on many
blockbuster films
of recent years,
including iron Man,
The Avengers, and Pirates of the
Caribbean, He also created art for
the Star Wars prequels.
That was just one of the many
stages on the journey of a lad who
grew up in Mystic, Connecticut -
despite the astonishing name, a
pretty remote place that couldn’t
really fulfil young Aaron’s thirst for
movie magic. “There wasn’t much
access there,” he recalls. “There
was maybe just one comic book
store you had to drive quite a
ways to. 1 grew up pre-internet,
pre-Facebook, so you didn’t really
see a lot of concept art for movies.
The only thing that was out there
was the Art of Star Wars stuff.
That really got me going, but I
was wondering how to do that. It
seemed so far away from where I
was growing up and the academic
subjects I was doing.”
But Aaron was nothing if not
tenacious, and while still studying
at school he made it his mission
to discover as much about this
tantalising world as possible. “I
would try to find out where the
artists that 1 liked went to school,
or where the directors that I liked
studied. And so I applied to go
to a lot of those schools, but they
were mostly film schools and I
realised what I liked most was
drawing and painting, so I ended
up going to Rhode Island School
of Design.”
Star Wars Sentry Droid
was commissioned
work for ImagineFX
magazine. "I designed
a droid that serves
as a large sentry -
somewhere between
a Stormtrooper and
an AT-ST walker. It's a
mobile heavy artillery
platform that would
support the Empire's
equivalent of the Navy
Seals or an Imperial
'black ops' team on
military incursions"
THE ART OF FILM: STAR WARS [ 79 j
Cover art for the
book Lords of the
Sith by Paul S.
Kemp, one of the
first entries in the
new canon begun
Aaron painted the cover art for Twilight
Company, a novel by Alexander Freed,
inspired by EA's hugely anticipated Star
Wars Battlefront game."I think a lot of
being prolific is being a good editor and
knowing where to put your detail and
where the audience is not going to look
L 82 J THE ART OF FILM: STAR WARS
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THE ART OF FILM: STAR WARS [ 95 ]
[ 96 J THE ART OF FILM: STAR WARS
Taking a year-and-a-
half to develop. Jar Jar
Binks is the highest-
profile character Terryl
Whitlatch created for
The Phantom Menace.
His anatomy was based
on elements from
duck-billed dinosaurs,
emu and parrot fish
The character artist on Star Wars Episode I gives us
an insight into what goes into creature design
erryl Whitlatch trained as a scientific
illustrator before a lucky meeting led
her to work on George Lucas's game
The Dig, and one thing led to another.
"As a paleo-reconstructionist, which is
my training and speciality, working on
the Star Wars prequels was a perfect fit because I had
to design imaginary creatures that were biologically
believable,” she explains. “Designing creatures for
the Star Wars films and universe - including the
famous and lovable Jar Jar Binks - was a unique and
rewarding experience. Working directly with George
Lucas in the pre-production art department for the
prequels was a true roller-coaster in terms of the
excitement and pure creative energy generated.
“We were running as fast as we could, artistically
speaking," Terry! reveals. “We had deadlines when we
met with George every week, usually on a Friday, but
All images copyright© Lucas film Ltd/Disney. All Rights Reserved.
THE ART OF FILM: STAR WARS [ 97 j
( Designing creatures
for the Star Wars films
- including the
famous and lovable
Jar Jar Binks - was a
unique and rewarding
experience, and a true
roller-coaster
L 98 J THE ART OF FILM: STAR WARS
"The more realistic
the skeleton and
muscular system,
the more easily the
rigger will be able to
design the vectoral
rig skeleton and
muscles underlying
the CG model"
sometimes more than that. He gave us an awful lot
of freedom and blue sky, which was wise, I think,
because he got a lot out of us and ended up with
more designs than he would have if we’d just stuck
to a rigid description of creatures and vehicles.
“I had to design creatures that had never been
seen anywhere before, yet had a familiar connection
with the look and feel already established in the
original trilogy. My approach was to take what’s
familiar to us on Earth and tweak it a little. This
methodology is characteristic of George’s outlook
and direction for the invention of Star Wars critters.”
For the pod racers in Episode I, however, there
were some specific requirements. “There should be
a lot of physical variety, the racers needed to be
realistic, and they had to be small enough to drive
the pods, just like lightweight jockeys for racehorses.
And they needed to provide comic relief.
“With the pod racers, I was able to draw from
my memory bank and visual references, and take
inspiration from actual animals. In the case of the
pod racer Teemto Pagalies - whose personality
THE ART OF FILM: STAR WARS
[99]
I had to design
creatures that had
never been seen before
yet fitted with the look
and feel of the original
trilogy. My approach
was to take what’s
familiar to us on Earth
and tweak it a little
L 100 J THE ART OF FILM: STAR WARS
St Initially George
Lucas tends to work
with personality
rather than what the
THE ART OF FILM: STAR WARS [ 101J
is somewhat similar to Bullwinkle the Moose - I was
inspired by hoofed mammals (ungulates), specifically
hartebeests, moose for their sloping eye-to-horn profile
and camels for their hind limbs. I also sifted in some
Celebes macaque monkey into the face, and of course
there’s a bit of human anatomy adapted into the upper
torso, specifically arms with hands - all the better to
steer with! The whole animal needed to be functional
for its film role, rather than either a human in an animal
costume or a chimera, which is the stitching together
of recognisable animal species, such as in a mermaid,
griffin or centaur”
Initially, however, Terry! adds, "George tends to
work with personality rather than what the creature
eventually looks like.” This can mean starting from
character rather than anatomy. In the case of Sebulba,
his nasty character was based on a camel: “I saw him
as a very aloof, irritable dromedary.
"For this narrative illustration [left] I drew a scene
where three of the pod racers - the antelope-like Clegg
Holdfast, the Pipefish-seahorse-inspired Adar Beedo
and moose-macaque-like Teemto Pagalies - are having
The orthographic
sketches for pod
racer character
Sebulba, ready to
be sculpted in 3D
www.talesofamalthea.com
a nice spot of tea together after a successful race
(successful meaning they all survived).”
Sometimes more practical considerations come into
play, too. "The interesting thing about Jabba,” Terryl
says, “is that although at that time he was described
as a slug, which is an invertebrate animal, I went on
to create a vertebrate skeleton for him. This was
important to design both for the reality of the film and
for the benefit of the production riggers. Since he also
has non-scaly skin, albeit lumpy and bumpy, Jabba is
much closer to an amphibian and I suppose his closest
Earthly relative would be the hellbender or Japanese
giant salamander - a large and magnificently ugly beast.”
I Ctf'i* J^C i'
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THE ART OF FILM: STAR WARS
L103 ]
his year’s ILM
Art Department
Challenge (see
page 12) attracted
more than 3,800
entrants from 101
countries, who together created
an astounding total of 23,500
images. In this context it’s some
achievement to finish as one of
the five artists with Honourable
Mentions, as did Paul Dainton.
Paul, originally from Bath in
the UK, studied Graphics and
Illustration in Hull. He originally
worked solely in traditional media
- oils, pen and ink, and the like -
and he says “I still really enjoy
just sketching or life drawing
it Hopefully I have managed to convey
a sense of the drama, adventure and
emotion of the Star Wars universe 39
with pencil and paper. I now work
mostly in Photoshop but I think
this background is still probably
apparent in my work. I’ve been
heavily influenced by many of the
usual-suspect traditional painters
and illustrators - Howard Pyle,
Joseph Clement Coll, Sargent,
Velazquez, Ben Nicholson and the
like. As a young child I grew up in
the era of Star Wars, ET, Jaws and
Indiana Jones, with a love for the
quirkier side of fantasy embodied
in Warhammer and Moorcock.
"I’m currently fulfilling one of my
childhood ambitions working as an
in-house studio artist for Games
Workshop.
"I learnt about the Challenge
somewhat last minute, but it
seemed like a unique opportunity
to have some fun in the Star Wars
universe. I’m not sure I had any
particular expectations with
[ 104 J THE ART OF FILM: STAR WARS
regard to the result, though, so it’s
turned out to be a rather pleasant
surprise, particularly given the
amazing work produced by so
many of the entrants.
'Hopefully ! have managed to
convey a sense of the drama,
adventure and emotion of the Star
Wars universe. For me, character,
emotion and story are the most
compelling, so I tried to capture
that in my images and designs.
"Working through the concept
art process was really informative
and has helped me to look at my
illustrative work in a fresh way,
which will I hope just keep me
improving as an artist.
"Altogether,” Paul concludes, "it
was a really great experience!”
http://bit.ly/piddy
THE ART OF FILM: STAR WARS [ 105 J
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THE ART OF FILM: STAR WARS [ 107 J
Ansel's incredible
collection of
spaceship models
are inspired by his
love of Star Wars
How
have
the vehicles of Star Wars
been reimagined
he spaceship models of Ansel Hsiao
are epic, detailed and enthralling.
Your eye can’t fail to be drawn to
every angle and detail. And likely
you’ll recognise the major influence
on Ansel’s creations.
"Not surprisingly, it was from Star Wars,” he says
without a trace of hesitation when asked what was
the first spaceship that inspired him. ‘“When the
Star Destroyer flew overhead for the first time, I was
hooked on making cool spaceships. I don’t see that
going away in the near future.”
It’s a long, slow-building shot that caused a stir
in 1977 and still does, it really needs to be seen on
a cinema screen to appreciate the impact, as your
entire view is slowly blocked by a sweeping majestic
Star Destroyer designed by Ralph McQuarrie. No
wonder Ansel has been so inspired to create his
collection of grand models.
“I had some grand ambitions when starting out:
Darth Vader’s Executor from The Empire Strikes Back
Looking back on it 1 barely had a non-primitive object
in that model, but I learned tons by doing it,” explains
Ansel, who reveals that his current models use more
"real” details to evoke scale, such as pipes, fixtures,
and ‘‘things that are based off of things that work,
rather than just being boxes to break up outlines of
basic shapes.”
Ansel’s core method for assembling his models -
keeping assets modular and available for other uses
L 108 J THE ART OF FILM: STAR WARS
All ini age s eo py right © Luc as f i I m Ltd,/D i sney
THE ART OF FILM: STAR WARS L 109 J
- dates back to that first attempt to create the
Executor mode!. Explaining the process, Ansel says
his first step begins with visualisation, “collecting lots
of reference material and deciding what elements
from existing ships to use in the design of the new
one. This involves a lot of simple modelling to get
the feel of the project. The vast majority of the models
I’ve abandoned get shelved at this stage, because
something just doesn’t feel right.”
The next step is to search through his old models
for detail elements to repurpose. Once they’re chosen,
Ansel clears zones on his model to detail; “There’s
nothing more daunting than a giant empty starship
that needs to be covered with detail, and it helps to
be able to focus on a series of small areas,” he says.
When the ship is detailed, Ansel will then clone or
reference symmetrical areas of the ship, collapse
modifier stacks and generally clean up the files. “I try
to build fairly clean as I go - vertex clean-up at the end
can be a nightmare for a multi-million-polygon ship.”
When working, Ansel draws inspiration from real-life
machinery and vehicles. As his models have developed
he’s sought to ensure that the detailing is as realistic
as possible; to sell the idea of a grand starship you first
need to convince viewers it can work.
“I’ve caught myself staring at things while travelling
and thinking ‘that would make for a great piece of
‘greeble’,” Ansel says when considering his influences.
Of course, the big influence is Star Wars itself: “A lot
of ideas come from the original sources. That means
Even classic ideas can
be given a facelift.
Merging curved
base shapes into an
otherwise angular
design or vice versa is a
simple trick for adding
some spice to a model
L110 J THE ART OF FILM: STAR WARS
THE ART OF FILM: STAR WARS [ 111 ]
I think internal consistency
a setting is more important
MODELLING A STARSHIP
GETTING IT SHIP SHAPE
Define the basic shapes of the ship.
Here there's a lot of playing with basic
primitives and getting a feel for the
scale and style of the project. It's helpful
to model some basic cues for size in
some detail, so you have a good idea
of what it'll look like at the end.
MANAGING THE MODEL
Move on to discrete regions of the ship,
one at a time so the project is broken
down into manageable parts. Try to keep
individual pieces of detail separate, so
they can be re-purposed throughout the
rest of the project. Always work in layers
to keep viewport performance high.
SETTING OUT THE DETAILS
Inset details are a great way to fill space
and add scale and complexity. They don't
always need to be unique. Also, ships
don't need to be evenly detailed to the
highest level: the camera and the eye
will focus naturally on certain areas, and
these are the ones to work more on.
USE INDUSTRIAL DETAILING
Certain kinds of detail - like pipe and
cable runs, rivets and small cut-outs -
are disproportionately good at adding
complexity given their poly count. Such
detail is also useful for either breaking
up or enhancing the outline of the basic
masses that form the core of the model.
PLAN FOR THE CAMERA
Figure out where the camera might
linger on your model, and don't be
afraid to spend polys heavily to make it
extra interesting to the eye. These are
good places to layer greebles on top
of each other in order to create more
interesting details.
than believability in a design
either the studio models themselves, or the model kits
that the original models were scratch-built from.
“Partially it's my first love in sci-fi, and partially I
really like the ‘used’ aesthetic of the designs, it looks
like it could all work, but offers literally a galaxy’s
scope to come up with cool new variations. Plus,
being able to see how my models can tie together
thematically is really cool.”
Ansel has a clear idea of what makes a good
starship design: “I think internal consistency within
a setting is more important than believability when it
comes to design,” he explains. “Everything else can
be based on the universe that’s built around the story,
and it’s up to the exposition to make things obvious.
“But beyond that, the design should follow some
basic physical principles that are intuitive: something
that is supposed to be a battleship should not look
flimsy, and rocket engines should look like they would
be able to push a ship forward, rather than just into
an endless spin. If you place elements within your
design that are familiar to, yet different from, things
in real life, that can make for some compelling sci-fi
design,” he continues.
MIX AND MATCH DETAILS
Mix up the types of detail as you go.
Mechanical detail can help a swoopy
ship seem functional. Remember, real
vehicles aren't carved from a single
piece of material, so adding individual
elements like plates or bits of machinery
can make a design look realistic.
DETAIL LARGE SURFACES
Break up surfaces with shallow details
(or do this in texturing). Discontinuity in
level of detail is grating - a well detailed
ship can be let down by empty areas.
Add some access ports, panel lines and
surface cable runs. The surface of a ship
doesn't have to look like a tile floor!
THE RIGHT PERSPECTIVE
When everything has been set up,
remember to do some large renders
to check for major mistakes. It can be
frustrating to render over and over, but
this is the best way to make sure all the
obvious issues are ironed out. Plus, you
get to enjoy the result!
L 112 J THE ART OF FILM: STAR WARS
■ WHAT MAKES A
GREAT SHIP DESIGN?
Firstly, how well defined is it? Are the
key elements of the design memorable
but clear enough that someone would
really remember it?
Secondly, the detail complexity. Are
there enough elements and enough
layers of elements to make it interesting
at different scales? This really sells the
intended size of a ship and gives you
the chance to make impressive areas of
deep detail.
Thirdly, how relatable is it? Are there
parts that are instinctively familiar even
though they may look fantastical in
actual form? That's where how well you
integrate your references into the design
comes into play. Combine all of that, and
I think you'll have a spaceship design
that's going to stand the test of time.
(f I spend tons of time on the basic
shapes and proportions. Detailing
is easy once that’s done
A single ship model can take Ansel anywhere from
a week to a month to create. A more simple ship or
vehicle that doesn't require a lot of editing can be
completed in a matter of days, however, and Ansel
points to his now extensive collection of pre-modelled
assets that can be used to quickly detail any given
ship or vehicle.
“The limiting step really is setting the basic shape
and style of a project," says Ansel, explaining that time
invested in the planning stages can avoid problems
later: “I spend tons of time early on making sure the
basic shapes and proportions are where I want them.
Detailing is easy once that’s done.”
With a growing collection of Star Wars models in
his portfolio, the promise of another new movie in
December means Ansel won’t be short of inspiration.
“Any foray into my favourite fictional universe is
great to see," he enthuses. “From a visual standpoint,
I’m really interested in seeing how they accommodate
the older design cues in whatever new designs they
come up with."
.net
www.fracta
THE ART OF FILM: STAR WARS [ 113 ]
[114 j
THE ART OF FILM: STAR WARS
"A few of the 50 oil painted cards I
did for the Star Wars Galaxy 7 set
from Topps. This was one of the last
sets I worked on before I decided to
change the direction of my art. Each
card is oil painted 2.5x3,5 inches"
The artist takes
sketch cards to
us from a
full-scale
love of
paintings
random Kenney grew up surrounded
by art. He describes his mother as
an incredible wildlife artist, and his
grandmother used to tour the country
creating pastel portraits for a living.
Both of his parents encouraged him
and his sisters to express themselves through art,
and he never felt that pursuing art as a career was
a negative thing in any way. He says he knew what
he wanted to do for a living at the age of five.
Brandon enrolled in the Art Institute of California,
where he studied traditional hand-drawn animation.
After graduation he was uncertain what direction
to follow. Knowing that the animation industry was
geared toward CGI, he tried his hand at 3D animation
Si I have found so much joy and
excitement from conceptualising
scenes in the Star Wars universe
and Flash but couldn’t find the same inspiration and
joy he got from putting pencil to paper.
Shortly after graduation he was introduced to
sketch cards - small pieces of original artwork that are
often placed randomly into official sets of cards. Their
size and collectability drew his interest and he began
to try his hand at a few of them, "mostly just to keep
from getting rusty as I figured out what to do next with
my career,” he laughs. After a few months he started
to work on official sketch card sets from licences like
Marvel, DC Comics and Star Wars. “These cards proved
to be a great way to experiment with mediums I was
previously unfamiliar with,” he says. “I tried markers,
coloured pencils, acrylics, watercolours, and eventually
I began painting them in oil. The size allowed me to try
new ideas or techniques and quickly see the results.
"in 2014,” he continues, “I started painting larger in
an effort to move from simply recreating scenes to
re-imagining them and concepting new ideas.
“Currently I’m pushing my comfort limits and
continuing to experiment with techniques both digital
and traditional,” Brandon concludes. “I have found so
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L 116 J THE ART OF FILM: STAR WARS
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"I was terrified to paint a large
oil painting like this for a long
time because of the time and
commitment. I remember struggling
a lot with Padme's face and losing
the likeness several times before I
was able to get it back"/
i
THE ART OF FILM: STAR WARS L 117 ]
much joy and excitement from conceptualising scenes
based in the Star Wars universe recently and I have so
many ideas I want to bring to life!”
When did you do your first Star Wars painting?
I drew so much Star Wars as a child, it would be
difficult to remember the first painting, but the first
licensed artwork I created was for the Topps trading
card set Star Wars Galaxies 5. I remember choosing
to airbrush acrylic on those cards because 1 wanted to
try something new and memorable. Working on that
set was like a dream to me, and 1 had so much fun.
Do you have a favourite character to sketch and why?
i have a few personal favourites, but if I had to choose
one character it would be Darth Maul. His makeup
and grimy teeth, the texture in his horns and just the
general badass feel of the character - I love it.
Which is the hardest character to get right?
For me there are certain actors with a likeness that
is very difficult to capture. Harrison Ford is one of
them. He’s so easy to get wrong that whenever I do
a Han Solo piece I take into account the extra time it
will take to make sure the likeness is accurate. Mark
Ham II is another one. All it takes is a small shift in the
placement of the eye, or for the nose to be a bit too
large or small and suddenly he no longer looks like
Luke Skywalker.
Can you tell us a little about your process?
My process usually changes for each piece I do. There
is never a precise formula that I can follow, I just have
to be open to do whatever the piece needs to make it
stronger. Generally, I start on paper with several very
rough thumbnails. From there I’ll choose one or two,
enlarge them, and refine digitally or on paper. It’s at
For me Harrison Ford’s likeness
is very difficult to capture. I always
add extra time when I paint him
this point that I try to establish a colour palette that I
can easily refer to as the work progresses.
The steps that follow vary greatly depending on the
medium I’m using and what I’m trying to achieve. If I’m
working in acrylics I’ll try to refine the underdrawing
because I want it to show through to the final piece. If
'm doing oil or digital painting then I'll focus more on
gradually building shapes and forms through colour
because I know that the final details won't be realised
until the very end.
Who inspires you?
I find inspiration everywhere! There is so much
amazing talent out there that I am constantly finding
new art that really drives me to try something
different. Names that have made a significant impact
in my career growing up would include the classical!
work of Michelangelo and Da Vinci - as a child I
thought I would one day have the same understanding
of the human form. In school I was introduced to
animators that made me realise how much I didn’t
know - Milt Kahl’s work and knowledge of movement
was a huge inspiration to me as I studied. Once I
started doing illustrative work I found the work of
More oil painted
sketch cards from
the Galaxy 7 set
"An acrylic card I
airbrushed for the
Return of the Jedi
Widevision set
released by Topps"
All images © Topps & Lucasfilm Ltd All Rights Reserved
[ 118 J THE ART OF FILM: STAR WARS
Drew Struzan and N.C. Wyeth would constantly
influence some of my own tastes and aspirations.
Do you have a favourite film or scene in the series?
I think the one thing Episode 1 did to near perfection
was the final confrontation between Darth Maul
and the two Jedi. The tempo of the action and the
incredible Duel of the Fates score really resonated
with me. There are a ton of scenes from Star Wars that
I absolutely adore, but that scene is my favourite.
Have you been inspired by the few glimpses we’ve
had so far of Episode 8?
Absolutely! The difficulty is that I don’t know the
context of the scenes, it’s hard to figure out what
to paint and get a feel for the characters when you
don’t know the story behind the images. I'm excited
for what’s to come, not only as an artist but as a fan
because we’re on the cusp of a whole new series of
movies, stories and ideas! It’s an electric feeling!
www.brandonkenney.com
SUITING UP
How the Celebration print evo
From my very first rough sketch I knew
I wanted to do Luke getting ready for
his first flight as a member of the Rebel
Alliance. Most of the details were dear
in my head from the beginning, so I
didn't need to thumbnail a lot of ideas.
Once I'm happy with the idea I scan
the sketch and redraw it in Photoshop
roughly so I can move things around or
redraw elements on different layers. This
is my first thoughts on a colour palette.
After I'm happy with the general layout
and have some thoughts on colour I
need to shoot some reference for the
pose. I'll use anything I have available
to shoot a reference shot. It doesn't
have to be perfect, it's just a source to
figure out lighting and the way certain
materials cast shadows, bend and fold.
At this point I use all the elements I've
been working on to create a tight pencil
drawing. I knew I wanted the hand-
drawn elements to show through the
final piece.
Once I started digitally painting the
sketch I realised I needed a lot more
drawings, and I needed things changed.
Rather than trying to mimic a pencil line
on my Wacom tablet, I find it easier just
to draw the elements on paper and scan
them into the computer.
All the elements scanned and painted.
The final artwork changed quite
dramatically from the original sketch
but I hope it stayed true to my original
vision. It's important that I don't lose
that initial feeling I wanted when the
idea was first conceived.
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[ 120 J THE ART OF FILM: STAR WARS
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Rogue Leader - given a
blank canvas and the entire
Star Wars universe, Dave
chose to capture a Luke
Skywalker moment of glory
© Del Rev & Lucas film Ltd. All Rights Reserved.
THE ART OF FILM: STAR WARS [ 121 ]
The favourite book cover illustrator talks
about his love of the Star Wars universe
ifelong Star Wars
fan Dave Seeley
can still vividly
remember the
moment that
the film series
impacted on his life. "I can still
feel that guttural rumble from
back in 1977, when that glorious
Star Destroyer cruised into view,
leaving a profound impression
on my teenage brain,” he tells
us. "I'd never seen anything to
compare, and I was instantly
hooked. The worlds, the pace,
the characters, the drama - al!
seared into my psyche. Star Wars
was the first time I’d been able to
immerse myself in a science fiction
paradigm and take it entirely
seriously. No nod and a wink, no
farce, no suspension of disbelief.
Star Wars shaped my interest and
defined an aesthetic direction for
my work.”
it’s fitting that Dave has built a
career creating immaculate book
covers for the Star Wars extended
universe, commissioned by Dave
Stevenson at Del Rey Books. Dave
Seeley cold-called the art director,
who as it happened was a fan, and
the work followed. As Dave Seeley
tells it: “I picked up the phone and
left Dave a message about coming
in to see him. A short while later
he phoned back: ’Sure, come on in,
I’ve got a job for you.’ Wow. And
that was the start of my work on
Star Wars.”
Dave’s first book jacket was for
the novel Rebel Dream by Aaron
Allston, featuring Wedge Antilles
in the cockpit of his X-wing fighter.
The artist began researching the
characters and vehicles but, at the
time, neither had a clearly defined,
consistent look (with few images
of actor Denis Lawson, who
played eventual cult-hero Wedge),
“The character appeared in
relatively few frames in the film
and was usually helmeted. The
X-wing exterior was featured
heavily in the film, but views
within the cockpit were most
always front-on. So what did it
look like off to one side? I was
able to invent some aspects of
the control panels, and I also used
Department of Defense photos
of real fighter plane cockpits for
ideas of what to show. It seemed
important to expand on what we
already knew about Wedge and
his X-wing, and I was eager to add
to the Star Wars canon.
“When I was commissioned to
create the cover for the second
book in Aaron’s duology, titled
Rebel Stand, I chose to create a
view from inside the Falcon that
we hadn’t seen in the films. At
this time, 3D software was still in
a fledgling state and not yet the
tool that I’d choose for this kind
Star Wars: Jedi
Healer - most of
Dave's work for the
Star Wars franchise
has been for the
Expanded Universe
Del Rey & Lucasfilm Ltd. All Rights Reserved.
THE ART OF FILM: STAR WARS L 123 J
Dave's stunning
piece called
Galactic Conquest
captures the epic
scale of the films
of thing. Instead, I worked with a
plastic model kit of the Falcon and
invented my own crazy interior
perspective, with a view out to the
ship’s nose. That was a view that
we hadn’t ever seen in the films.”
Moving forward, Dave has
become a regular artist for Star
Wars and its conventions. When
he was invited to Celebration IV
in Los Angeles, to mark the 30th
anniversary of Star Wars Episode
if So much of the genre owes
so much to Star Wars. It still has a
freshness almost 40 years later
IV: A New Hope, he knew which
character he would paint for the
show: Luke Skywalker.
“For me, the coolest aspect
of Luke in the movies was his
incarnation as an ace fighter pilot.
I decided to show Luke in the
period following the conclusion
of Return of the Jedi, when he
and his Rogue Squadron of
X-wing fighters take on the job of
rooting out the entrenched Empire
from the galaxy. Prior to the
convention, I emailed the finished
image, called Rogue Leader, to
Dave Stevenson, thinking that he
should have first crack at using
it, given that he was the reason
I was working in the Star Wars
universe in the first place. Dave
immediately emailed me back
saying he thought he might have
the perfect book for it, which
turned out to be Luke Skywalker
and the Shadows of Mindor.
“When Lucasfilm announced it
as the cover image, fans on the
message boards seemed pretty
stoked, except for those who were
disappointed that the villain of the
book, Lord Shadowspawn, wasn’t
on the cover. I picked up the
phone and gave Dave another call.
What if we flipped our point of
view 180 degrees when we flipped
the book over, and saw what
Luke saw: Lord Shadowspawn,
an instant before their sabers
collided? Dave loved the idea and
commissioned the painting.,.
"I found it particularly satisfying
to flesh out this spectacular villain.
Shadowspawn was a character
who had not yet been seen in
any detail, so I was able to design
him with some degree of latitude.
I went for a Revolutionary War
general/pirate/ninja combination,
but the finishing touch was Dave
Stevenson’s suggestion to add his
white facial tattoo.”
The Star Wars universe has
continued to be a source of
inspiration to Dave. “It defined
my early aesthetic vision for
science fiction,” he says, adding:
“What’s more, the prequel trilogy
was neatly aimed at my son’s
generation, so I was able to live
those movies and relive the
original movies through his eyes
during the creation of my Star
Wars illustrations. While I’m very
glad I’ve been able to enjoy a wide
variety of projects in my career,
I’m thrilled to have been a part of
creating the Star Wars universe.”
This universe, says Dave, tapped
into a common interest in sci-fi
and fantasy, representing the
genre in away anyone can access.
“Lucasfilm then assembled a
raft of talent that expanded the
universe in a truly compelling
visual way. So much of the genre
owes so much to Star Wars. The
design work was original rather
than referential, so it still has a
freshness almost 40 years later.”
A 200-page book titled The
Art of Dave Seeley was released
in September 2015 and features
a chapter on his Star Wars work.
Dave is busy with a variety of
work, including book covers and
- wait for it - rollercoaster images
for Sea World Texas, but he looks
forward to new Star Wars projects.
"It's been a kick to contribute to
the world-building,” he says, “and
to design new aspects of it.”
iy.com
L 124 J
THE ART OF FILM: STAR WARS
The classically-trained painter enjoyed being able to
focus on the essence instead of fussing over details
All images copyright © Lucas him Ltd/Disney
THE ART OF FILM: STAR WARS [ 125 J
The judges commented
that "Pavel is not afraid
of colour, and didn't
play it safe in this
Challenge" but "the
guy is great with light"
ne of the five
artists to receive
Honourable
Mention in the
2016 ILM Art
Department
Challenge on ArtStation, Pavel was
born in Saint Petersburg, Russia,
and graduated from the Academy
of Fine Arts as a painter in 2004,
Almost immediately he started
working as a CG artist in the game
industry, which he is still doing. He
mentions that his hobbies are art
and scuba-diving, and his favourite
places (consequently?) are his
home city and coral reefs.
What do you do as a day job?
I have a part-time job in a small
game development studio in Saint
Petersburg where I do most of the
graphic content for a given game
project, excluding US design. The
studio is located in the magnificent
historical centre of the city, and I
love the team I work with. I also
work as a freelancer, trying to
keep to the type of work ! like the
most: illustrations, character and
environment concepts.
When did you first hear about the
Challenge? Were you confident
about entering?
I've been a member of ArtStation
for quite a long time and I knew
about the Challenge right after
it was announced. I rarely take
part in competitions but this one
was special. The fact that ILM
was directing and judging the
competition was a strong
motivation and I entered. I had
little confidence, though, and I
hesitated over whether I could
afford to spend that amount of
time on a non-profit activity. I
entered thinking "Okay, I should
plague them with my works as
long as I can.” I didn't even read
the descriptions of the prizes at
that time.
You had to produce quite a lot
of art for the Challenge. How did
you yourself feel about the works
you submitted?
There were some images that I
didn’t like at all even though one
of them was in the “ILM favourites”
list. 1 was quite unhappy about
what I did for the final task of “The
Job” part, and I published only one
The judges noted that Pavel's earlier
submissions were "much tighter, but even
his looser paintings had a lot of power
and really interesting colour and light"
L 126 J THE ART OF FILM: STAR WARS
Pavel's art ( the
judges said, is
"very cinematic,
very powerful in
defining moments
in the story"
of the two keyframes on my own
ArtStation page. I skipped the
storyboard and main keyframe,
i also wasn’t happy with the
Swana character design I did,
but after a while I thought it
may be an interesting addition
if published together with some
stronger images, Also I added
some work-in-progress images.
I always like to look “behind the
scenes" of other artists’ work
and I thought my WIPs could be
of interest for some viewers.
What feedback did you get, if
any, from the ArtStation team and
from the ILM panel of judges?
There was a generalised feedback
broadcast to all the participants,
It was probably the best they
could do with hundreds of artists
engaged in the challenge! Still it
was very helpful, especially in
those areas that were new to me
and somewhat off my main areas
of proficiency (such as vehicle
design).
The idea of taking common
objects and using them as a basis
for vehicle design made me spend
a good day in a toolshed taking
photos of vises, airbrushes, chain
saws and swimfins. Phrases like
“Tell a story!" or “Show us
something that we haven’t seen
before!” are now etched in my
ff it was important for me
to convey universal human
emotions wrapped in a
Star Wars setting
mind forever. And almost always
there was something like “Some of
you are nailing it!” and you start
reviewing your work again and
again, trying to understand if you
are among those lucky ones who
nailed it.
The task descriptions were
often supplied using classical art
references like a Louis David
painting or a Kurosawa movie, and
that is what I have a soft spot for,
Overall the feedback was very
professional and inspiring, and
even its vagueness I perceived
as a kind of an artistic freedom,
which I enjoyed very much!
What was it about the Star Wars
universe that you tried to capture
in your art?
I watched the classic trilogy when
I was a child, and the Star Wars
universe has some nostalgia
flavour for me. i am definitely a
fan. But, truth be told, I am not
the kind of person who knows
every aspect of the Star Wars
world and would spend his free
time on doing fan art. I often used
sources like Wookieepedia to learn
more about various aspects of the
universe.
I was very surprised that every
single character or creature has its
name and story. In my works I was
more focused on secondary
characters and almost never used
key figures like Leia or Han Solo,
Imagining the story featuring
Tusken Raiders or Jawas seemed
to me more engaging.
goloviy.com
THE ART OF FILM: STAR WARS [ 127 ]
[ 128 J THE ART OF FILM: STAR WARS
You don’t suppose his surname explains
Andrew’s aptitude for walkers, do you?
ndrew March is
a professional
artist who works
in both 3D and
2D software,
and although he
describes himself as a hobbyist,
he has freelanced for some
lighting and animation projects
- experience that came the fore
when he was creating his inspired
scene of AT-AT Walkers.
“I remember seeing them in
the cinema when Empire Strikes
Back was first released and just
thinking how intimidating they
were. I wanted to try and recreate
that feeling,” says Andrew, who
goes on to reveal that the image
had its challenges: “I guess it’s
creating a sense that you are
looking at a lumbering metal giant
- portraying that sense of scale
and weight can be difficult.”
Andrew’s image began as 2D
sketches, then he took these ideas
into Lightwave 3D for surfacing,
lighting, landscaping, and setting
up the models... “and it’s at this
point that the original sketch goes
out the window and the 3D scene
takes on a life of its own,” he
laughs. “Then it's rendering, and
finally it's Photoshop for a little
post work. Ha, sounds easy when
I say it like that!”
www.andrewmarch.artstation.com
L130 J THE ART OF FILM: STAR WARS
‘TO HOTH AND BACK’
CAT STAGGS
/250
THE ART OF FILM: STAR WARS L 131 ]
The comics artist talks about her
series of propaganda posters
YOU HAW WHAT IT TAWS?
Above: the prelim for the
third in Cat's propaganda
poster series (opposite)
robably best
known for her art
for DC Comics
and on Star Trek
for IDW, Cat has
also created Star
Wars cards for Lucasfilm since
2004 and a series of distinctive
Celebrations posters (six so far) in
the style of wartime posters. “I am
a big fan of propaganda art from
the '40s, 11 she explains. "I thought
it would be fun to combine them
with the war aspect of the Star
Wars films. Playing with the
juxtaposition of the vintage with
the future was a very appealing
challenge for me.”
Why does Star Wars keep driving
artists to create new work?
\ can’t answer for anyone but
myself. For me, there are so many
worlds, people and creatures to
play with, it almost feels like an
endless playground of inspiration.
40 years’ worth of material, and
now we are adding new elements.
It is incredibly exciting.
Do you have a favourite poster
artist who has inspired you?
I’m a big fan of design and
layout, and the movie posters
of the ’50s-’70s are some of my
favourites. Artist like Bob Peak
and Robert McGinnis were
standouts for me, as well as
illustrators from the ’30s-’40s-
J 50s like Rockwell, Leyendecker,
Maguire, and so many more from
that era.
Can you tell us a little of how you
work? What is your process?
It tend to be very research
intensive before I even put
pencil to paper, especially for
these propaganda pieces. I want
to make sure they convey the
til want to convey
the emotion of the
moment as well as a
vintage feel and inject a
little humour if I can
emotion of the moment as well
as the vintage feel of the era. I
am also a fan of injecting a little
humour if I can. I can spend
weeks working out the piece in
my head before I ever get started
on the illustration.
Is it hard to find a unique take on
such familiar characters?
No. Because the world of Star
Wars is so vast and so developed
but we have seen only so much,
it leaves the door wide open, to a
degree, for taking the characters
to the unseen moments.
What makes a great character like
those in Star Wars work?
They are incredibly relatable
and not so far removed that the
audience cannot connect with
them. Even a two-ton space slug
had our attention!
Are you a Star Wars fan?
From the moment that Star
Destroyer flew over my head
in 1977.
Do you have a favourite Star Wars
poster or image that you’ve done?
That is a hard question. I like them
all for various reasons. Do I look
back on older pieces and wish the
execution was better? Sure, but I
still like what was created. I will say
though that the propaganda series
has been the most fun, and I look
forward to working on new pieces.
Do you have any future projects
you can reveal - any new posters
or clothing designs?
Nothing I can talk about just yet.
Finally, how excited are you about
the new film?
Extremely!
All images copyright© Lucasfilm Ltd ./Disney
[ 132 J THE ART OF FILM: STAR WARS
* SECURITY BEGINS WITH YOU «
FNTOUMFR AT Et'HO El ASK
A display of Cat's versatility,
from a convention badge
in the style of a pulp novel
cover to her Obi-Wan Kenobi
Clone Wars trading card
artwork forTopps, plus
(top left) a study sketch
THE ART OF FILM: STAR WARS
[133]
rt) This is Luke Skywalker. He just destroyed ^
an Imperial battle station the size of a small
moon in an Incom T-65 X-wing space superiority
fighter, with a downed astromech automaton.
Where did he learn these amazing skills?
In
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Join Today! Fly Tomorrow! Fight Forever!!
Spirit of 77 was the first
of Cat's propaganda poster
series. Top right is the
prelim, then anti-clockwise
some progress shots of the
final marker rendering, and
at right the final poster
4) This is Luke Skywalken He just destroyed UD
an imperial battle station the size of a small
moon in an Incom T-65 X-wing space superiority
fighter, with a damaged astromech automaton.
Where did he learn these amazing skills?
Join
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L 134 j THE ART OF FILM: STAR WARS
Even with clients ranging from Disney to
Aston Martin, Simon paints a pitch piece
THE ART OF FILM: STAR WARS L 135 ]
Simon titled this
striking piece
"Apprentice" but
it clearly reflects
his expertise as
an illustrator and
concept artist
rench-born concept artist and
production illustrator Simon Goinard
has always loved Ralph McQuarrie’s
work on the original Star Wars trilogy,
"not only because it’s beautiful and
inventive, but because it helped a lot
to sell the concept of the first film too.” For him, he
says, “it’s the perfect example of what pitch design
should be, so I just wanted to bring back that feel with
a piece, trying to cross a Star Wars pitch piece with a
bit of McQuarrie and a bit of my moody style.”
Did you try anything new on this painting?
Technically speaking no, it’s just my usual approach
to personal pieces. I just kind of paint and think at the
same time. I knew the feel I wanted in the end, but still
a lot of things evolved - the Jedi became a Sith; the
scene focus changed too, with more protagonists, etc.
What was the aim or mood you were looking for in
the image?
It was designed to be a pitch piece, so it had to be
dynamic and represent the essence of the films -
galactic wars and the fight between good and bad,
pretty dear intents. And then I tried to bring in that
Greek tragedy feeling too, with the [character’s] robes
for example, or the fact that the main character seems
to be breaking the fourth wall and looking at us like
we’re an audience in a theatre.
What is it about Star Wars that inspired this?
I’m a huge fan of the mid-'70s, I must say. The sci-fi
feel in society, the music, the design was pretty
awesome. Star Wars is part of that too - that’s what
I like about it: all these ideas are combined in this
cultural phenomenon that is the movie.
It feels like this is a very romanticised vision of
Star Wars. Was this intentional?
Yes, totally. Again like a Greek myth, Star Wars is
pretty romanticised itself, and as I intended the piece
to be pitch work it had to be too!
www.simongoinard.com
THE ART OF FILM: STAR WARS
Darth Maul
actor Ray Park
actually posed
for Sith Rocks
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THE ART OF FILM: STAR WARS L 137 J
First noticed for his humorous work, the
artist revels in the scope of Star Wars...
hen asked what it
is that inspires his
interpretations of
Star Wars, Randy
Martinez replies:
“My memories. I
was three when Star Wars came
out in 1977,1 remember going, but
not a whole lot of the film, nothing
clear anyway. But the imagery
stuck with me. I was fascinated.
With my Star Wars art, I try to
bring that same excitement and
magic that I felt when I was a kid.
As adults we become a lot more
cynical because life just tends to
do that to you. But as children, life
is just fun and all about wonder
and imagination. So when I paint,
I want to relive those feelings over
and over again. Hopefully, the
finished product gives the viewer
the same experience/’
Why does Star Wars keep driving
artists to create new work?
You mean besides a paycheck?
You know every artist would give
you a different answer, and that’s
kind of what makes Star Wars so
special. There’s so much room to
be creative and apply your style
or ideas to the art. Star Wars has
action, adventure, romance,
fantasy and just about every
other genre there is, even Greek
tt There’s so much
room to be creative and
add your ideas. In Star
Wars there’s something
for everyone
mythology. So, in Star Wars
there seems to be something for
everyone. I like to believe most
artists create from within, and they
create what they are connected to.
Star Wars is a huge part of our
culture, and most fans, no matter
what age, have grown up with Star
Wars in their lives in some way. So,
it is very easy to feel connected to
Star Wars in some way.
What comes first, a character or a
concept (Darth Maul rockin’ out)?
For me, the concept definitely
comes first. I like to tell stories or
make statements with my art. It’s
not enough for me to just draw
Boba Fett just standing there
with his gun. That is really boring.
I want to say something and
provide an emotion.
There are limitless ways to do
that, and I’m always coming up
with things to say, jokes to tell,
or ideas to share. So say with Sith
Rocks with Darth Maul rocking
out, I actually came up with the
idea to do an homage to one of
my favourite Star Wars illustrations
ever, Star Wars Rocks by Hugh
Flemming. I am a musician as well,
so I loved this piece, and I always
wanted to do something in the
same mashup idea of Star Wars
and rock-'n'-roll. However, I wanted
to put my own spin to it and put in
a lot of jokes and gags. I am huge
Mad magazine fan from way back,
so I am often inspired by the likes
of Jack Davis, Mort Drucker and
Sergio Aragonez. I knew I wanted
THE ART OF FILM: STAR WARS
Randy is a great
fan of mixed
media - yes,
that background
behind Leia really
is some old comic
book pages
to do something exciting, so I
thought of the Kiss rock shows,
and I automatically thought
wow, "Kiss” sounds like “Sith”.
From there it was just a matter of
putting the right personality with
the right instrument. Darth Maul
would totally be a lead guitarist.
It helped that I am friends with
Darth Maul actor Ray Park, so he
was kind enough to pose for me!
Tell us a bit about how you work.
I don’t really have a set process.
Every piece of art is different,
depending on what the art will
be used for. I use just about every
medium there is, depending on
the job, and that is a large factor
in how I will approach the art.
I sketch, I work in the computer,
I sketch more, then get to the
painting, but sometimes I start
prepping while I’m sketching, I'm
al! over the place.
How does Lucasfilm react to some
of your humour paintings?
They love it. Doing Star Wars
humour is how I got started
making official Star Wars art, 16
years ago, so they are very used
to my style of humour. Lucasfilm
knows I can paint them a super
tight illustration or do something
funny, which has been good for
me. Steve Sansweet once called
me "the Swiss army knife of Star
Wars artists,” and that title has
kind of stayed with me.
I love when Lucasfilm lets me
be funny with Star Wars because
there is so much to be funny with.
Star Wars is an endless supply of
jokes and gags!
How are the Legacy paintings
created? Do you have a favourite?
The Legacy is very dear to my
heart because it was kind of a
turning point in my career. I had
reached a point where I was bored
with just drawing and painting.
So ! started to collage real
comic books, and then I started
painting over that. I really liked the
newsprint and the comic book ink
as my backdrop. It’s a lot more
than just cutting up old comics
and placing them anywhere - I
really take my time to not only
build a solid colour composition,
but also to sort of tell a story or
create a mood.
I have created about 25 of these
pieces of Marvel, DC and Star
Wars characters. Right now, only
the Marvel pieces are available
as prints: Spider-Man, Iron Man
and Captain America. It’s hard to
pick a favourite; they all have a
different experience for me.
Are you a Star Wars fan?
Absolutely, I’m an Original fan.
1 saw all three movies in the
theatres when they came out. I’ve
collected Star Wars toys, cards,
THE ART OF FILM: STAR WARS L 139 J
Randy has
depicted
probably every
Episode and
beyond, but the
original trilogy
remains his
favourite
art, everything. And while I don’t
collect anything anymore, I still
love to look at and play with Star
Wars toys.
it’s been a dream come true
to actually be part of Star Wars,
doing official art for Lucasfilm
for 16 years. It’s still a wow for me,
even just saying that. I’m very
fortunate to have the opportunity
to make my living creating art of
one of my favourite things ever.
I’m honoured and it’s the greatest
experience I’ve ever had.
What made creating this piece
so special was that my girlfriend
(Star Wars artist Denise Vasquez)
and my Mom helped me create
this piece. ! love collaborative
art, and it was fun sharing this
experience with my family.
Which is the hardest character to
get “just right”?
None. I don’t mean that in an
arrogant way at all. Nothing in this
world is hard to create because
of the hard work I have put in on
"just right” in terms of there being
right or wrong, it’s about getting
it just the way you want to paint
it or draw it as an artist. It’s taken
me 41 years to get where I am in
my journey. The challenges come
from deadlines. Can you create
quality art in the time you are
given? Sometimes I get jobs where
I only have a few days to complete
it. That’s tough, because I have
to create art in a short time that
looks just as good as a piece I’ve
had months to work on.
Do you have a favourite Star Wars
painting or project you’ve done?
No favourites. Every piece is
a different experience. I put
everything into each painting -
where I am in life, how I feel, and
what is inspiring me at the time.
Each piece is like my own little
time capsule. Lucasfilm has given
me so many opportunities to
create big, very important pieces
of art, it would be impossible to
pick just one as my favourite. But,
I will tell you that one of the most
special pieces I created was the
key art for Star Wars Celebration
Europe in 2007, better known
as Sgt. Lucas. It's one of the few
3D sculptures I have ever done,
so it was a challenge. Two of my
favourite things in life is Star Wars
and the Beatles, so to be able to
mash the two up was pure joy!
Anybody can learn to
draw or paint anything,
but you have to be
willing to put in the
time and the work
my fundamentals. I’ve had great
instructors and mentors in art, and
they have helped me understand
how to paint and draw anything
in this world or that I can imagine.
The truth is anybody can learn to
draw or paint anything, but you
have to be willing to put in the
time and the work. Art is a lifelong
journey that you can never master,
it is not about getting something
Do you get inspired by trailers
and previews of new Episodes?
Do they make you get working?
You know, I saw the trailers [for
Episode 7: The Force Awakens],
and they were very exciting. But
the latest and most exciting trailer
came out at Star Wars Celebration,
where I was running my booth.
There was so much going on
selling art, making contacts and
doing interviews that I had not
really had time to let it all sink in.
With that said, I have some ideas,
but I want to first get to know
some of the new characters better
and formulate something I want
to say or express through the art.
At the same time, I also just want
to enjoy it as a fan. Because that’s
where it all starts!
www.randymartinez.net
The illustrator dressed up and used photo references to
paint an image that captures a film he hadn’t seen yet...
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Her website describes her as “artist,
illustrator, and part-time Jedi...”
elf-confessed
"pretty geeky
artist” Karen
Hallion reveals that
it wasn’t until she
was 16 and saw
the movie The Little Mermaid that
she became interested in being an
artist. “I walked out of the theatre
and thought ‘I want to do that'/’
she recalls. “I went to Ringling
School of Art and Design in
Sarasota, Florida, and graduated
with a BFA in Illustration. I spent
years trying get an art-related job
or freelance, and failed miserably.
One thing led to another and I
wound up as an art teacher for
two elementary schools, teaching
grades Kindergarten to Fifth. I
loved it - it was fantastic. Lots of
glitter and watercolours and pipe
cleaners. But I lost my job in 2009
and decided to give an art career
another shot. It was kind of a sink
or swim moment for me... and I am
still swimming. Knock on wood!”
Where did the idea come from
to mix Star Wars and Mucha?
I had a print of La Dame Aux
Camelias by Mucha hanging
over my desk for years. I love
Alphonse Mucha - I am in awe
of his linework. This particular
print always reminded me of Leia,
and I thought it would be fun to
do an homage to it with a Star
Wars twist. Leia is such a strong
character, always in the front and
in charge. I wanted to show her
in a more quiet, pensive moment.
Also, combining Art Nouveau and
pop culture can be so much fun
- there are so many ways to hide
little details in the illustrations.
How long does a piece like La
Dauphine Aux Alderaan take?
Well, that one was back when I
didn’t have a tablet. I had a laptop
with a touchpad and very basic
Photoshop skills. I drew it out on
paper with pencil, scanned it in,
then did the lines and colour in
Photoshop. Took me forever.
40-50 hours, maybe? Now I have
a Cintiq, and my Photoshop skills
are better. Something like that
would take me more like 20-25
hours these days - partly because
of the Cintiq making work move
more swiftly, partly because I
know my way around Photoshop
now, and mostly because I’ve been
drawing so much the last five
years, it comes a lot more naturally
these days. Sometimes, someone
will say to me “You make it look
so easy!” But it was 20 years of
struggle and stubbornness to get
there, and there are still days when
a drawing just won’t cooperate.
Can you tell us a little about your
workflow and creative process?
6’ S Combining Art Nouveau with
pop culture is fun, and there are so
many wavs to hide little details
Usually I start with a very
rough, flowy, loose sketch with
a blue coloured pencil brush in
Photoshop. Then I reduce the
opacity, add another layer and
sketch again, fixing issues with
proportion, adding little bits of
detail but skill keeping it pretty
rough. Then, reduce opacity, add
another layer, and keep doing
that for a while until I’m happy
with how it looks. Next, I "ink” it
digitally. I usually go over all the
lines first with about the same
line weight. Then I go back and
All images copyright© Luc as film LtdL/Disney
L 144 J THE ART OF FILM: STAR WARS
Karen's painting
Leia's Corruptible
Mortal State riffs
off the Disney
Haunted Mansion
Tightrope Girl
6C In general, I struggle with drawing
men. I don’t know why, but drawing
women comes much easier to me
add a heavier line around the big
basic shapes, a very Alphonse
Mucha type thing to do. Then I
really zoom in and add subtle
line weight, some curves where
two lines might meet, smoothing
things out. I spend a lot of time
on the line, really. Then I start
laying in big basic colour, keeping
everything on different layers
so they are easy to play around
with and find the right colour
combinations. And finally, I add
shading, highlights, etc. Trying to
figure out when and if it’s actually
done is always the hardest part,
knowing when to stop!
What have been the biggest
influences on your art?
Definitely Disney, in particular
Glen Keane. The flow of his art,
the movement, what he is able to
express in just a few gestures -
it’s inspiring. Obviously Alphonse
Mucha for his line and beautiful
Art Nouveau backgrounds. I love
Charles Dana Gibson, also for his
linework. I am a big of pop-culture
geek, and I draw what I love. So,
what I read, watch or listen to
usually makes its way into my
work. A lot of the more popular
things like Star Wars or Doctor
Who, but also I love doing a little
more obscure designs. I recently
did an illustration of Dottie from
League of their Own, and it was
such fun to have so many fans
get excited about that and start
posting quotes on my page.
Actually, I have a quote from
that movie hanging over my
desk, because I feel like it is so
fitting for art: “It’s supposed to
be hard. If it wasn’t hard, everyone
would do it. The hard is what
makes it great.”
Do you have a favourite Star Wars
character and why?
My favorite character to draw
would be Queen Amidala. Her
wardrobe, hairstyles, her face... It’s
just so fascinating and detailed
and gorgeous. I could draw her
over and over again and never
get bored. But Leia is and always
will be my favourite character.
THE ART OF FILM: STAR WARS [ 145 ]
The Haunted
Galaxy series
is a mashup of
iconic Star Wars
characters with
Haunted Mansion
Her strength, leadership, bravery
and intelligence make her a great
role model for women and girls.
And I am a sucker for all her witty
banter with Han.
Who’s the hardest character to
get “just right”?
In general, I struggle with drawing
men. I don’t know why, but drawing
women comes much easier to me.
So, whenever I have to draw a male
character, stress levels rise. For me,
Han Solo has to be the trickiest.
He’s attractive, but not in any sort
of traditional way. Getting that
smirk just right can be challenging.
R2-D2 turns up quite often in your
work. Is he a favourite of yours?
After Leia, he would be my
favourite, yes. It's amazing to me
that with just a series of beeps and
little noises, he has such a distinct
personality. I used him to tie together
the background in my Celebration
piece, because he was important to
both Amidala and Leia. When I was
at MegaCon [in Orlando, Florida, in
April 2015], R2 came by my table
to visit, courtesy of the R2 Builders
club. I was thrilled - I wanted to take
him home with me.
Did you have a good time at Star
Wars Celebration 2015?
I had an amazing show. I’ve been
doing conventions for a few years
now, and have been lucky enough
to do great shows like SDCC, NYCC,
Emerald City, C2E2, etc. But there
was just something in the air at
Celebration, this excitement and
energy, especially on that first day
after everyone saw the new teaser
trailer. And to be included with
such an insanely talented and
skilled group of artists was an
immense honour. It is a big goal
of mine now to continue to push
myself improve my work and get
included in Star Wars Celebration
shows for as long as I can.
Your piece for Celebration Europe
2016, titled Strength, features six
leading female characters in the
canon, with Rey front and centre...
It started off as a quick sketch
last year, with only three women.
I re-sketched it this year to add
Padme, Leia and Rey. I struggled
a lot with Rey’s face, right up until
the deadline.
www.karenhallion.tumblr.com
L 146 J THE ART OF FILM: STAR WARS
oncept artist Josh
Viers loves movies,
So much so, he'll
often take a scene
from a favourite
film and use it as
the starting point for a painting.
It needs to be chosen carefully,
of course: "Just because you love
Clueless doesn’t mean it’ll be a
good starting point for your art/’
he quips. “Pick a movie that was
lauded by critics for its look - a
film with great cinematography.
“For example, I know that
using a Coen Brothers film as the
launch point is a safe bet because
Roger Deakins acts as director
of photography for most of their
films. If I can emulate Roger’s
work then I'm heading in the right
direction. My end result will often
be very different from what I
started with, but with a solid
foundation and good inspiration
it's hard to go wrong.”
Recently, Josh reveals, he has
also started using 3D as part of his
process. “I’ve found it’s invaluable
in composing a scene. With even
the simplest 3D elements I'm able
to define and compose my space
in a way that makes it tangible.”
The moody cinematic moment on
this page was achieved in part by
painting over 3D models.
Josh’s career itself has included
many disciplines. While studying
[ 148 J THE ART OF FILM: STAR WARS
I took a scene with
its brilliant framing and
repurposed it, which is
kind of what George
Lucas originally did
at the University of Cincinnati he
had the opportunity to design toys
for Hasbro, shoes for Adidas and
consumer electronics for Samsung
and Acer. After graduating with a
BS in Industrial Design in 2001, he
worked as an art assistant in the
Industrial Light and Magic art
department, which he says “was
a fantastic experience that allowed
me to make some good friends."
After ILM Josh had the great
opportunity to work for Doug
Chiang (at Pexart/lceblink
Studios/lmageMovers Digital),
“who was the person to promote
me to the position of concept
artist for a feature film. The first
movie I created concept work for
was Spielberg’s adaptation of H.G,
Wells’ War of the Worlds.
“I worked on several films under
Doug’s direction for the next five
years including The Polar Express,
Monster House, Beowulf and A
Christmas Carol. While working
for Doug our small art department
of approximately 15 people
changed hands (and names) a
couple of times until it officially
THE ART OF FILM: STAR WARS [ 149 J
All images copyright © Lucas film Ltd./Disney
L 150 J THE ART OF FILM: STAR WARS
THE ART OF FILM: STAR WARS
[151 j
[ 152 J THE ART OF FILM: STAR WARS
I’m a digital hoarder.
Each piece has one key
reference that informs
my space and one the
mood and colour
became a Disney company called
ImageMovers Digital.”
It was while working for Doug
that Josh was approached by The
Orphanage for the position of lead
concept artist on Frank Miller’s film
of Will Eisner’s The Spirit, which
he enthusiastically accepted.
“After that contract I moved to
EA’s Visceral Games to work as a
senior concept artist on several
unannounced titles,” Josh
continues. “I eventually returned
to Industrial Light and Magic as a
senior concept artist, where I
worked on Super 8, Cowboys and
Aliens and Redtails,” explains Josh.
Since leaving ILM Josh has
served as an art director and artist
for several mobile game titles and
unannounced projects based out
of Los Angeles. Fie has created
concepts for films by Steven
Spielberg, J J. Abrams, Robert
Zemeckis and Jon Favreau.
Flere we showcase some of
Josh’s personal concept work
inspired by Star Wars.
[ 154 j THE ART OF FILM: STAR WARS
l
/
Recognisable even
in silhouette, Darth
Vader stands on
the path of evil
THE ART OF FILM: STAR WARS L 155 j
The concept artist gives us an insight
into creating a stunning environment
rtist Michael
Pedro created this
beautiful Path of
Evil illustration
for the Star Wars
Galaxies trading
card game. “The concept of this
image was to really convey Darth
Vader as a figure of temptation/'
Michael explains. “I painted him
standing on a volcanic rock
formation on the planet Mustafar;
the formations vaguely resemble
the claws of a hand, a hand
beckoning the viewer. Ultimately,
I wanted to find a unique way
of suggesting the allure of the
Dark Side.
“Darth Vader, terrifyingly
mysterious, was a tragic figure
who rose to power and fell from
grace; essentially, Luke has no
choice but to live the risk of
following in Vader’s footsteps.
Mystical trappings aside, it’s
such a human story that virtually
anyone can identify with. Plus,
there's the idea of being 'the
underdog’ who’s ultimately called
to live out an important destiny.
Luke went on an adventure that
left him a hero - what’s not to like
about that story?”
Michael began the piece as a
series of black-and-white sketches,
to outline the possibility of where
the image could go. “Once I have
a particular composition in mind,
I'll block in some loose, basic
lighting, and then begin applying
colour to really start building up
the layers of the painting,” he says.
“From there, it’s a simple matter
of applying photo textures to
quickly attain my desired level of
detail, and then using digital paint
to 'push’ the photo elements back
and merge them into the rest of
the image.”
Michael's decision to become
an artist in the first place was
based on Star Wars artwork he
discovered during college. "I was
still in college when the preque
films’ art books were gaining
popularity, and it was the designs
and paintings of Ryan Church -
the concept design supervisor on
Attack of the Clones - that really
made me sit back and say ‘Yeah, I
want to be a concept artist’.”
And his love for the franchise
continues. “I think it ultimately
comes down to the idea of Star
Wars being the ultimate sandbox.
Between the released films, an
entire galaxy has been established
with scores of worlds, characters,
and stories that can now, in turn,
serve as inspiration to other
creators. It’s a galaxy of seemingly
endless possibilities, really.
“Watching the trailers for The
Force Awakens, I was reminded
that no matter how much we all
think we 'know’ Star Wars, there’s
always another episode or series
or novel right around the corner
that adds to the universe in ways
we never imagined.”
Michael was “super-excited” to
see Episode VI! and pleased with
its approach. “I’m a huge fan of J.J.
Abrams’ more practical approach
to set construction and special
effects, so I was eager to see a
new Star Wars that felt more
immersive and real. That, and the
updated Stormtrooper designs
were absolutely terrific!”
www.michaelDedro.com
[ 156 J THE ART OF FILM: STAR WARS
Feng Zhu, concept designer on Episode III, shares a
production painting for an unseen Star Wars scene
oncept designer
Feng Zhu has
worked with
Michael Bay, Luc
Besson, Steven
Spielberg and
James Cameron, among other
A-list directors, but his time with
George Lucas was very special to
him. "The original Star Wars films
had a tremendous influence on me
as a young kid,” says Feng. "During
school, I drew X-wings and TIE
fighters all over my homework,
and got yelled at by the teachers.
After coming home, I flew around
in the Slave I toy, pretending to
hunt down bounties. And like so
many others kids, I believed in the
Force and tried my best to move
TV remotes or mind-influence
girls to like me - neither of which
worked. Needless to say, I was,
and still am, a huge Star Wars fan.”
Feng studied Industrial Design
at the Art Center in California but
dropped out after one year, not
because he was doing badly but
because he felt it wasn’t suitable
for him. “I knew what I wanted to
do from a pretty early age - which
is exactly what I’m doing now,” he
explains. "I think a lot of people
don’t recognise that until their
mid 20s or early 30s. But I knew
where I was going and took the
appropriate steps to get there.”
Working on Episode III has been
a highlight of Feng’s career, but
perhaps surprisingly, Feng says
"I don’t consider myself an artist
at all... It’s all about the design.
Drawing is only a very small part
of design - it’s the last part of it.”
This painting visualises a scene
from an imaginary script: "A small
group of unidentified individuals
discover the remains of a crashed
Imperial shuttle on Hoth."
start production paintings
by listing the five Ws,” Feng
explains. “They are what, when,
where, who and why. You don’t
need to answer all of the W
questions, but the painting should
contain information that enables
the viewers to see those elements.
For this painting, they are as
follows. What: a crash-landed
Imperial Shuttle. When: a few
hours before sunset. Where: Hoth.
Who: a small group (allegiance
unknown). And why: this part is
left for the viewer to decide.”
www.fengzhudesign.com
THE ART OF FILM: STAR WARS [ 157 ]
Feng Zhu
designed many
of the hard
surface areas
that were
built into the
miniature models
for the Mustafar
set such as this
landing area
"I thought the
look of Mustafar
came out great
on screen. ILM
did an awesome
job capturing the
grittiness of the
environment"
says Feng Zhu
THE ART OF FILM: STAR WARS
h
■&m i
Stormtroopers don't get
many breaks... in any
sense of that phrase!
■ r Jp|
m r |H*
THE ART OF FILM: STAR WARS [ 159 ]
Bobby captures the
relationship between
Luke and Yoda in just
a few deft strokes
Classic characters
eyes and depicted
seen through fresh
in a different style...
aving seen the
Star Wars films for
the first time only
in December 2015,
Disney character
artist Bobby
Pontillas is just a little late to this
particular party. But, now a die¬
hard fan, he was so inspired that
he immediately started creating
his own fan art. "I can’t tell you
how many people I've talked to in
the animation industry who've said
that Star Wars is the reason they
are artists today,” he comments.
“I just think the characters and
the world they inhabit fired the
imaginations of everyone. They
want to be there and live in those
worlds, and in your career as an
artist you hope to inspire the
younger generation in that same
[ 160 J
THE ART OF FILM: STAR WARS
"Only a few decades
late," Bobby brings
a new perspective to
familiar characters
All images copyright© Lucas film Ltd/Disney
THE ART OF FILM: STAR WARS [ 161 ]
Bobby's charming artwork
brings you even closer to
characters you feel you
already know well
I wanted to convey how cool I
thought these characters are and
the relationships they share
way and bring more of these kinds
of worlds and characters to life.”
In creating his eye-catching
character illustrations, Bobby was
heavily inspired by the work of
movie poster artists Drew Struzan
and Oily Moss, despite their
styles being so different from his
own. “Oily’s Star Wars set is pure
genius,” Bobby comments. With
his own ideas set, he doesn’t mess
about when it comes to creating
artwork. "My process is somewhat
light on its feet,” he says, “It’s a
simple style and 1 like to work fast
and loose,” he explains. “What I
try to get across in my work is
just a strong sense of character,
which the Star Wars universe has
in spades, I wanted to convey how
cool I thought these characters are
and the relationships they share.”
Bobby loves all the Star Wars
characters but does admit to
having some favourites. “I had a
great time doing Yoda and Luke
because those are my all-time
favourite scenes in all of the films,”
Now a true Star Wars fan,
Bobby is looking forward to future
instalments. "I have faith that
these films are going to knock
everyone’s socks off. Just by the
looks of the trailers, the reveals of
the characters.” We look forward
to his interpretations in turn!
pot.com
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THE ART OF
Mario Alberti
Celebrate Star Wars through the eyes of the world’s finest artists.
From the legacy of those who worked on the original 1977 film
to today’s digital artists. Star Wars has never looked better.
Christian Waggoner
Dave Seeley
Terryl Whitlatch
Brandon Kenney
Matt Busch
J L
n
Cover art © & TM Lucasfilm Ltd./Disney All Rights Reserved.
The Art of Star Wars : Film Vol 4
Foreword by RICK CARTER
uM
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U.S. $40.00
Canada $49.95
U.K. £25.00
For the very first time, step inside the Lucasfilm art
department for the creation of the fantastical worlds,
unforgettable characters, and unimaginable creatures
from one of the most anticipated films in history. The Art
of Star Wars: The Force Awakens will take you there, from
the earliest gathering of artists and production designers
at Skywalker Ranch and Lucasfilm, to the fever pitch
of production at Pinewood Studios, to the conclusion
of post-production at Industrial Light & Magic, all with
unprecedented access.
The Art of Star Wars: The Force Awakens will introduce
you to director J.J. Abrams’s and producer Kathleen
Kennedy’s incomparable gathering of the very best film
artists from across the globe, led by award-winning pro-
duction designers Rick Carter (Jurassic Park, Avatar) and
Darren Gilford (TRON: Legacy, Oblivion), and veteran Star
Wars art director Doug Chiang. Together, this incredible
team of “Visualists” reimagined George Lucas’s beloved
franchise for a whole new generation from the inside out,
reaching all the way back to legendary Star Wars concept
artists Ralph McQuarrie and Joe Johnston for inspiration,
and forward to the very bleeding edge of technology and
technique. Exclusive interviews with the entire team
impart fascinating insights in bringing Abrams’s vision
to life; unused “blue sky” concept art offers glimpses into
roads not traveled.
Bursting with hundreds of stunning works of art,
including production paintings, concept art and sketches,
storyboards, blueprints, and matte paintings, this visual
smorgasbord will delight Star Wars fans and cineastes for
decades to come. The Art of Star Wars: The Force Awakens
will stand as the definitive expression of how the latest
chapter in the Star Wars saga was dreamed into being.
ALSO AVAILABLE FROM ABRAMS IN FALL 2016:
The Making of Star Wars: The Force Awakens by Mark Cotta Vaz.
Forewords by J.J. Abrams and Kathleen Kennedy.
SZOSTAK
THE ART OF
THE FORCE AWAKENS
Written by PHIL SZOSTAK Foreword by RICK CARTER
CONTENTS
Foreword 11
Introduction 15
Who’s Who 17
“Guided Imagery”
Concept Phase 1»
Pre-Production 29
Production 10:
Post-Production 2:3
“Who Is Luke Skywalker?” 249
4 Page1 DESERT DESTROYER Doug Chiang
4 Pages2-3 TIELOADING WIDE James Clyne
4 Pages 4-5 MILLENNIUM FALCON Andrée Wallin
4 Pages6-7 FALCONESCAPE RyanChurch
<< CRASH SITE ANGLE 2 (DETAIL) Wallin
«4 FLIGHTJACKET Glyn Dillon
FLAMES FRONT CHROME
(DETAIL) Dillon
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SPACEPORT REY POV Wallin
INTRODUCTION BY PHIL SZOSTAK
In the afternoon of September 6, 2012, a little more than
three months after being appointed co-chairperson of Lucasfilm Ltd.
by Star Wars creator George Lucas, Kathleen Kennedy met with the
assembled divisions of Lucasfilm to state her intention to produce a
new series of Star Wars films. Her announcement was met with cheers.
Star Wars: The Force Awakens would be the first chapter of this series,
to be released in 2015, a full decade after 2005's Star Wars: Episode III
Revenge of the Sith. A few months later, following the October 30 sale of
Lucasfilm to the Walt Disney Company, Kennedy was appointed the
company’s new president, and plans for the sequel trilogy were publi-
cally unveiled. Excitement over the news spread globally.
This latest slate of Star Wars movies would present incredible chal-
lenges to their creators, challenges unique both within the series’
forty-year history and in comparison to any other film in cinematic
history. First and foremost, what would Star Wars become without its
creator, George Lucas? For the six prior Star Wars films and The Clone
Wars animated TV series, Lucas synthesized an extraordinarily deep
and diverse array of elements and influences, from classical mytho-
logy to cultural anthropology to Eastern spirituality, crafting a story,
and an aesthetic, that appears simple but is exceedingly complex. It
is that very complexity that, like the fully realized worlds of Frank
Herbert’s Dune or J.R.R. Tolkien's Lord of the Rings trilogy, gives the
Star Wars universe its inherent richness and verisimilitude—the feel-
ing that it exists, independent of the stories told of it. Would Lucas’s
world-building foundation be enough to sustain the next generation
of Star Wars stories and storytellers?
In the process of conjuring The Force Awakens, the filmmakers
would also confront fundamental questions about the very nature of
Star Wars. Why does Star Wars resonate so strongly, across borders and
through the ages? What is it that makes Star Wars a perennial pop-
culture phenomenon? Is Star Wars’s appeal purely nostalgia-driven?
What does Star Wars have to say to the youth of today, in a time both
economically and sociopolitically similar to, but profoundly different
from, 1977?
The Force Awakens’s co-production designer Rick Carter recalls, “At
the time, Lucas and Spielberg unleashed the power of not only clas-
sical storytelling, but optimism in the face of nihilism. The youth
culture of the seventies was turning in on itself in a negative, almost
cannibalistic way. Chinatown, The Godfather—these are great movies,
but they’re essentially nihilistic; there's no value that you can stand
up for. Power was unleashed by identifying that there is something
worth fighting for, that there is purpose. There is a good. There is evil.
And there are complexities to it, but that’s the scope of who we are.
What we strive to be is worthy.”
Star Wars shed a light into the darkness, bringing forward the
counterculture youth movement of the sixties—which George Lucas
and Rick Carter were both a part of—into the malaise of the post-
Vietnam era of the late seventies. What’s the story that the young
people of 2015 are dying to hear, dying to be blown away by, as they
were in 1977? Is that even possible? Can lightning strike twice?
Star Wars: The Force Awakens would inherently carry tremendous
weight, as it was to be the first direct sequel to 1983's Return of the
Jedi and would feature the original trilogy’s beloved trio of central
characters—Luke Skywalker, Princess Leia, and Han Solo. But Epi-
sode VII would also have to lay the groundwork for every film to
follow: new characters, situations, starships, and worlds, including
hints at more than three decades’ worth of backstory bridging the
trilogies. And the first film or story in any series is undoubtedly the
most difficult.
Adding to that difficulty, the tale of Luke Skywalker seemed to
have ended with Return of the Jedi. Joseph Campbell’s “monomyth,”
which found elemental commonalities in religious and mythological
storytelling throughout history, was a huge influence on Lucas. The
hero’s journey through the monomyth is the human journey through
life: from childhood to adulthood, innocence to knowledge and
acceptance—a story we all share. Luke Skywalker went from naive
farm boy to Jedi Knight, discovering terrible truths along the way, ulti-
mately confronting and vanquishing his fears and obstacles. With the
apparent destruction of the Galactic Empire, it truly seemed “happily
ever after” for Skywalker, his friends, and the galaxy at large. But hap-
pily ever after is the end of conflict and therefore the end of the story.
What more was there to say about these characters?
The Force Awakens director J.J. Abrams and screenwriters Michael
Arndt and Lawrence Kasdan recognized that a new “nobody” was
needed. Young film audiences would need fresh and relatable heroes
to emulate—and those heroes would have their own paths to follow.
Just as Obi-Wan Kenobi evolved from General of the Clone Wars to
“Old Ben” Kenobi, wise father figure to young Luke Skywalker, so too
would Luke, Han, and Leia now function as archetypal guides to the
next generation.
Apart from the story challenges, the distinct design aesthetic of
Star Wars would also need to be teased apart and reimagined for these
new films. In a 1975 interview, George Lucas described his envisaged
Star Wars look as “very real, with a nitty-gritty feel, which is hard to do
in a film that is essentially a fantasy.” Lucas loves cinema vérité, hav-
ing employed documentary cinematographers for both THX 1138 in
1971 and American Graffiti in 1973. He wanted Star Wars to feel as if you
were watching a documentary filmed by a crew within the Star Wars
universe, who would just observe without dwelling on anything in
particular. The speed of the action and of the narrative would always
supersede showing off anything “cool.”
To that end, Lucas asked that every object, costume, vehicle, alien,
and set designed for the film in 1975-76 be casual, asymmetrical,
mismatched—as if it hadn’t been designed at all. That aesthetic was
clearly carried through in the designs of original trilogy artists Ralph
McQuarrie and Joe Johnston, and it was enthusiastically adopted by
JJ. Abrams, Rick Carter, and the entire The Force Awakens art depart-
ment from the get-go.
Carter treated Lucas, McQuarrie, and Johnston’s aesthetic as
foundational to the work of The Force Awakens’s art department, who
were, early on, nicknamed “Visualists.” He would also serve as a men-
tor and spiritual advisor to the film, digging deep for a fundamental
understanding of Star Wars and the Force. “I wasn’t the only person
in this role,” he says. “If you care about the Force, you want to invoke
the Force.”
Carter would slowly draw out sparkling bits of inspiration from
his Visualists in marathon two- to three-hour art department meet-
ings, lulling his designers into deep creative mindsets where the
walls between individuals would drop, allowing the group to func-
tion as a sort of collective unconscious. In many ways, much of the
early design work on the film was a shared dream of the Visualists,
with Carter picking up on the faint whispers of an idea that would
otherwise be lost. “It's like charades,” he recalls. “If somebody gets
close and you get excited, you put your hand on your nose—'That's
it, that’s it!’ I just encouraged them whenever I felt inspired by what
they were saying.”
Halfway through the first year of pre-production, The Force Awakens
co-production designer Darren Gilford joined the team. Like director
Abrams and most of the Visualists, Gilford was part of the first Star
Wars generation who experienced the initial tidal wave of excitement
around the franchise in the seventies and eighties. Gilford had more
cause than most kids in 1977 to be inspired by the series. “I don’t know
THE ART OF STAR WARS: THE FORCE AWAKENS.
how it happened, but my dad got the commission to do the illustra-
tion for the cover for the Star Wars issue of Cinefantastique, which came
out in 1978,” he says. “We went to go see Star Wars like nine times while
he was doing all the drawings for the cover. Of course, I wanted to go
see it as many times as I could—it just left an impression on me.
“So as soon as I got the job, the first thing I did was give the maga-
zine to J.J. to look at, and he had such a strong reaction to it,” Gilford
continued. “J.J. was really clear very early on: He did not want the de-
sign to overpower the story. He wanted the design to support the story
and bring viewers right back in that world.”
Abrams and Gilford paid faithful homage to every nuance and
detail of the first Star Wars films’ aesthetic and design process, as
spearheaded by production designer John Barry. Concurrently,
Carter and Gilford naturally formed a sort of yin-and-yang produc-
tion design tag team, each contributing strengths that innately sup-
ported the other.
Like Gilford, many of the Visualists who grew up in the seventies
and eighties—Doug Chiang, Erik Tiemens, and Ryan Church, to name
a few—were chiefly and profoundly inspired by McQuarrie, Johnston,
and Star Wars generally to pursue careers in film and conceptual art. It
was their work on the Star Wars prequel trilogy and other turn-of-the-
millennium films that stirred the next wave of young artists, now in
their twenties, to subsequently join the The Force Awakens team.
This three-generation ensemble of masters and apprentices, in-
dustry veterans and up-and-comers, is quite possibly the greatest
collection of filmmakers and artisans ever assembled for a film. Their
care and respect for cinema and for Star Wars remains deep and abid-
ing. The dedication, intelligence, craft, and creativity they brought to
their work on The Force Awakens in the face of formidable odds and
intense deadlines is truly staggering—a testament to their passion for
the medium and the film.
There can be no doubt that Star Wars is in good hands. J.J. Abrams’s
The Force Awakens is the proof. The foundation that Lucas, McQuarrie,
Johnston, Barry, and the entire original trilogy cast and crew laid down
three decades ago has been and will continue to be brilliantly built upon
for decades to come.
More than ever, the world needs Lucas and Star Wars’s message of
hope in the face of despair, the triumph of humanity over technology,
spirit over matter, light dispelling the dark. These powerful messages
will resonate just as strongly for the next generation of young film-
goers. Perhaps they will become the artists, writers, and directors of
tomorrow, telling stories we cannot even begin to imagine.
REY MIXER Dillo!
WHO’S WHO
J.J. Abrams
Writer/Director
Matt Allsopp
Concept artist
Christian Alzmann
Concept artist
Michael Arndt
Writer
Chris Bonura
Concept artist
Andrew Booth
Computer graphics
supervisor: BLIND LTD.
Luis Carrasco
Concept artist
Rick Carter
Co-production designer
Doug Chiang
Concept artist
Ryan Church
Concept artist
James Clyne
Concept artist
Jake Lunt Davies
Creature concept designer
Fausto De Martini
Concept illustrator
Glyn Dillon
Costume concept artist
Peter Dorme
Art director
Ryan Drue
Concept artist
Yanick Dusseault
Concept artist
Haley Easton-Street
Art director
Neil Ellis
Concept model maker
Landis Fields
Concept artist
Dave Filoni
Supervising director:
Star Wars Rebels
Jo Finkel
Art director
Luke Fisher
Senior sculptor
Colin Fix
Conceptartist
Brian Flora
Conceptartist
David Fogler
ILM CG artist
Lydia Fry
Assistant art director
Darren Gilford
Co-production designer
Roger Guyett
ILM VFX supervisor
Mark Harris
Art director—props
Kiri Hart
Lucasfilm vice president
of development
Will Houghton-Connell
Art department assistant
Colin Jackman
Creature sculptor
Kevin Jenkins
Art director
Michael Kaplan
Costume designer
Lawrence Kasdan
Writer
Kurt Kaufman
Concept artist
Kathleen Kennedy
Lucasfilm president
Magda Kusowska
Costume concept artist
Thang Le
Conceptartist
Sam Leake
Draughtsman
Nicole Letaw
Art department coordinator
Karl Lindberg
Concept artist
Dela Longfish
Concept artist
George Lucas
Star Wars creator
Katrina Mackay
Assistant art director
Ivan Manzella
Senior sculptor
lain McCaig
Conceptartist
Timothy Mueller
ILM CGartist
Julian Murray
Creature concept designer
Brett Northcutt
Concept artist
Lee Oliver
Concept artist
Andrew Palmer
Art Director
Kimberley Pope
Costume concept artist
Dermot Power
Costume concept artist
Martin Rezard
Senior sculptor
Rayne Roberts
Lucasfilm creative executive
Stuart Rose
Art director—vehicles
Matt Savage
Concept artist
Neal Scanlan
Creature creative supervisor
Tyler Scarlet
Art department assistant
Henrik Svensson
Creature paint finish
designer
Thom Tenery
Concept illustrator
Erik Tiemens
Conceptartist
Gary Tomkins
Senior art director—vehicles
Chris Vincent
Art department assistant
Dan Walker
Concept artist
Matt Walker
Scenic painter
Andrée Wallin
Concept artist
Sam Williams
Costume concept modeller
4 SABERSTUDIES “You can see the little trigger crystal on the far right
one—that’s the most primitive lightsaber there is. All this aluminum-
milled stuff, that’s all just for safety and styling.” church
“GUIDED IMAGERY” CONCEPT PHASE
“HOW STRONG IS THE FORCE?”
On October 31, 2012—Halloween—the day after Disney’s
acquisition of Lucasfilm and the public announcement of a new Star
Wars trilogy, production designer Doug Chiang (The Polar Express,
War of the Worlds, A Christmas Carol) reached out about Episode VII
to several contacts close to Lucasfilm president Kathleen Kennedy,
including his The Polar Express co-production designer Rick Carter
(Jurassic Park, Forrest Gump, Avatar). “I heard about the new films like
the rest of the world in late fall,” Chiang recalls. “Of course, it was
very exciting because Star Wars has been my passion for the longest
time.” Chiang was last affiliated with the franchise as concept-design
supervisor for 2002's Star Wars: Episode II Attack of the Clones.
“Rick hadn’t heard about it, either, until I told him,” Chiang con-
tinues. “A couple days later, he came back and said, ‘This is really
interesting. | would like to throw my name into the hat.” Carter
contacted Kennedy shortly thereafter, offering to help in whatever
capacity she needed. “I think roughly about a month after that,
Kathleen reached out to Rick and said, ‘Even though we don’t have a
script or a director yet, let's start this process.”
Carter, Chiang, and David Nakabayashi, creative director of
Industrial Light & Magic (ILM), convened at the Letterman Digital Arts
Center in San Francisco on December 11 to handpick a “dream team”
of designers for an Episode VII art department, to be inaugurated in
January 2013, with plans for a full production design team to be up
and running by March. The following day, Carter met Star Wars creator
George Lucas for the first time in the Main House on Skywalker Ranch.
On January 9, 2013, Carter called the first meeting of his con-
cept art department. Working in tandem with screenwriter Michael
Arndt (Little Miss Sunshine, Toy Story 3), Lucasfilm Vice President of
Development Kiri Hart, and soon-to-be-announced director J.J. Abrams
(Mission: Impossible III, Star Trek, Super 8), the artists were encouraged to
dig deep and create pieces that Carter calls “guided imagery.”
“You're in a waking dream state and learn to say what comes to
your mind. You pick up on little things and follow them, which is
what allowed me to become a production designer,” says Carter.
Guided imagery is often purely symbolic, with littleto no connection
to the developing plot of the film, but the art can spark other ideas
or stand as thematic milestones for the ongoing screenwriting and
visual development process. Carter also posed fundamental, deeply
challenging questions; “How strong is the Force?” and “Who is Luke
Skywalker?” were most prominent among them. “What is the Force's
relevance?” he wondered. “Does it mean anything now? Or is it just
what is referred to in the movies, an archaic old wives’ tale of days gone
by and simpler times of ancient chivalry? Today, does anybody really
care?” Translating the spiritual movement of the Force into compel-
ling visuals would be their first, and possibly greatest, challenge.
Carter worked primarily out of Los Angeles, meeting with
Abrams at Bad Robot Productions. He then relayed information to
the gathered Visualists and art department coordinator Nicole Letaw
via teleconferenced meetings on a weekly or bi-weekly basis, along
with daily phone calls.
4 ALTKIRA (REY) lain McCaig
>
JANUARY 2013
Rick Carter’s concept art team hit the ground
running. For the first meeting on January 9, 2013,
Carter tapped leaders from across the company. This
creative council included Star Wars Reb
ing director Dave Filoni, Story Group's
creative executive Rayne Roberts, chief technology
officer Kim Libreri, senior vice president of physical
production Jason McGatlin, and me, along with the
initial group of accomplished ILM concept artists and
Star Wars veterans: Doug Chiang, Iain McCaig, Erik
Tiemens, Kurt Kaufman, Christian Alzmann, and
Yanick Dusseault (James Clyne, who worked with
Rick Carter on Avatar and Lincoln, contributed from
Los Angeles starting on January 21). McCaig recalls:
“We sat in the round, all the Knights of the Round
Table, coming back to help on the latest quest.”
“In Rick’s mind, we’re not just artists; we're
‘Visualists,” Chiang says. “And he was trying to
develop that concept, where it’s not just artists who
can draw, but it’s people like John Knoll, Dennis
Muren, or Roger Guyett from ILM, story people like
Kiri, Michael Arndt—all trying to collaborate and
come up with what the film should look like.”
On January 24, Carter and Chiang hosted an
concept art presentation for Walt Disney Studio exec
tives, including chairman and chief executive officer
Bob ger, chairman Alan Hornand president Alan
Bergman, at Big Rock Ranch, just down the road from
Skywalker Ranch. Chiang recollects, “We took what
we knew of Star Wars, and what we would like to see
of Star Wars, and we just blew it out.” Work in January
primarily focused on who Luke Skywalker, Han Solo,
and Princess Leia have become in the thirty-plus years
after the events of Star Wars: Episode VI Return of the
Jedi. Two new characters, Kira and Sam (later renamed
Rey and Finn), are also first realized. Star Wars creator
George Lucas provided his Episode VII treatment to the
project's creative team. And after months of Internet
speculation, J.J. Abrams was officially announced as
the director of Episode VII on January 25.
“I don’t care what anything looks like. I really don't. I have
total faith that it’s going to look wonderful. I want it to
be a great movie because it’s infused with the spirit of the
Force.” Rick Carter
FELUCIACANYON Erik Tiemens
THE ART OF STAR WARS: THE FORCE AWAKENS
UIDED IMAGERY” CONCEPT PHASE JANUARY 2013
For the early Episode VII meetings in January,
Rick Carter tacked up work—primarily pirate
paintings—by the late nineteenth-century American
illustrator Howard Pyle; nature photography and
Zen Buddhist imagery that evoke both the wabi-sabi
aesthetic and the Force; concept paintings from leg-
endary Star Wars concept designer Ralph McQuarri
images of mountain bing; and stills from Akira
Kurosawa’s films—including 1958's The Hidden Fort
which directly inspired Lucas’s Star Wars: Episode IV
A New Hope. At one point in the January 9 meeting,
Carter handed a stack of random Kurosawa stills to
Kiri Hart and asked her to use them to tell th
Episode VII. The five chosen images, from film:
as Rashomon and The Hidden Fortress, perfectly illu:
trated Kira’s journey of self-discovery, from fearful
Force-sensitive to master.
« JEDIKILLER McCaig
vy LUKE13 Christian Alzmann
THE ART OF STAR WARS: THE FORCE AWAKENS
Screenwriter Michael Arndt would later describe
these early versions of Episode VII's young heroes, Kira
and Sam, as a “loner, hothead, gear-head, badass
“pure charisma,” respectively.
and
KIRA (REY) AND SAM (FINN) McCaig, Lindberg, Tiemens, and Chiang
PRINCESS LEIAREVISED “The actress Sarah Bernhardt had a fan-
tastic costume with a very high collar when she was getting older
but still playing romantic leads. And it’s such an attractive choice,
because it really sculpts the face.” mccaig
4 FELUCIASPACE VERSION Yanick Dusseault y FELUCIAUNDER Dave Filoni
« BANDITS Dusseault Y¥ BLOB & MILLENNIUM FALCON Kurt Kaufman
4 HANSOLO Alzmannand McCaig
“Jain and I were thinking about Jeff Bridges in True Grit [2010]. Everyone loved the idea
of a duster and the long combed-back hair with the beard. They wanted it to look like the
old Sergio Leone-style posters.” Alzmann
THE ART OF STAR WARS: THE FORCE AWAKENS
>
’
The seeds of a junk planet concept were born
out of the very first Visualist meeting on January 9, in
which a crashed Imperial space station was discussed.
Not long after, they proposed the idea of a wrecked
Imperial Star Destroyer. Reference imagery of the
shipbreaking yards of the modern-day Indian sub-
continent were combined with these ideas, and the
planet of Jakku began to take shape.
“In the beginning, Michael Arndt would have ideas about
types of planets—environments that he was looking to
explore, such as a planet that had all the wreckage from the
previous Star Wars movies.” Carter
JUNK PLANET CONCEPT SKETCH Tiemens
JUNK PLANET Kaufman
“GUIDED IMAGERY” CONCEPT PHASE / JANUARY 2013
25
THE ART OF STAR WARS: THE FORCE AWAKENS
WALKER LAVA SNOW Clyne
FIRE &ICE CONCEPT “Early on,
Rick was really keen on bringing
this concept of fire and ice together
visually, He suggested, because I
had one lightsaber that was blue,
‘Why don’t we make it a double
lightsaber?” tiemens
VILLAINS 03 &06 “These were actually the first images that
I did of a Sith. Even there, I was going with a brown cape,
making him a little more rustic. Because this concept did
well, I became the ‘villain guy’ for a long time.” Alzmann
DARTH TALON, DARK SIDE OF THEFORCE “The tattoos are a
lot simpler. They follow a rhythm and they flow. And that's
the evil thing puppeteering her from behind.” mccaig
28
FEBRUARY 2013
Taking a break from Star Trek Into Darkness
post-production, director J.J. Abrams and his Bad
Robot Productions team visited Lucasfilm on
February 13 for an art presentation led by Kathleen
Kennedy and Rick Carter. Kiri Hart, Jason McGatlin,
ILM chief creative officer John Knoll, Doug Chiang,
and screenwriters Michael Arndt and Episode VII
story consultant Simon Kinberg were also in
attendance. “How Star Wars relates to our lives is
everything,” Abrams said. “What's my place in the
world? How am I connected to everyone else? The
light and dark—the Force is a critically important
component in this. I love how, in the first film, Han
Solo is debating if the Force even exists, like it’s
some sort of an ancient religion or joke. It’s about
belief on some level—and the ability to be aware of
your place in the world.”
Darth Vader's castle, as illustrated by Ralph
McQuarrie in the early development of Star Wars:
Episode V The Empire Strikes Back, was mentioned. The
junk planet, Luke's hovel, and the nature of the Force
were all discussed in the meeting and continued to be
developed in February, as well. February also saw the
return of concept artist Ryan Church, who worked
with Carter on Avatar and Abrams on both Star Trek
reboot films, to the Star Wars art department.
DROID JETSAM McCaig
THE ART OF STAR WARS: THE FORCE AWAKENS
KIRA (REY) IN THE JUNKPILE McCaig
’
JUNK BARGE Chiang
4 JUNK CASTLE LANDSCAPE Tiemens y KIRA’S (REY’S) CASTLE/STAR DESTROYER CANAL SKETCH Tiemens KIRA (REY) JUNKYARD McCaig
“GUIDED IMAGERY” CONCEPT PHASE / FEBRUARY 2013
JUNK PLANET DOCKS
4 JUNK WALKER DWELLING Chiang y¥ KIRA(REY)1B Alzmann
<» SEDUCTION 001, 002,003 & 005
McCaig
“GUIDED IMAGERY” CONCEPT PHASE / FEBRUARY 2013
4 ROGUES: SNAKE &SYMBIOTE Church 4 sitHLorps “Rick came in with a bunch of photographs, and one was from Ivan the Terrible
[1945]. I did an Ivan the Terrible—esque villain in mid-ground. Then in the foreground I thought,
‘How fun if the villain were half-machine, half-flesh together?”
THE ART OF STAR WARS: THE FORCE AWAKENS
4 SPACEPIRATE “This was my version of what I thought a space pirate would look li 4 FALCON PIRATES Brian Flora BAR Alzmann
in Star Wars. It definitely feels more bounty hunter—esque, but you can add a little bit
of flair with a red body sash.” Alzmann
“GUIDED IMAGERY” CONCEPT PHASE FEBRUARY 2013
44 JUNKCITY Alzmann, Kaufman, and McCaig KIRA (REY) SPEED Kaufman 4 KIRA(REY) SHIP Chiang
THE ART OF STAR WARS: THE FORCE A
OVAL SHIP LANDED “I was just
thinking, ‘Well, they probably want
to do some iconic shapes for a ship.’
Slave Lis a favorite ship theme—
one that changes configuration once
taken off.” Church
WALK THE PLANK Church
UIDED IMAGERY” CONCEPT PHASE / FEBRUARY 2013
MARCH 2013
As Michael Arndt’s outline for Episode VII
continued to take shape, designs for the newly chris-
tened but still origin-less “Jedi Killer” villain, Luke’s
homestead, and Kira’s home planet saw further devel-
opment. The junk planet town also picked up new
design influences: Spaghetti Westerns of the 1960s,
and the Afghani short film B hi Boys (2011), slow!
moved the outpost into something more Old West.
Several new story beats were first explored in
March, including a daylight attack on the outpost
by the Jedi Killer and his hooligans—first a band of
pirate-mercenaries, then stormtroopers—which
cemented the Jedi Killer's alignment with Neo-
Imperial forces. Arndt met with the art department
on March 5, and the very first inklings of a Neo-
Imperial superweapon emanating from a planet
were sketched out, then further developed in April.
A climactic battle on an ice planet and a Yoda-like
mentor figure for our young protagonists were also
realized. Lastly, the enigmatic (and temporarily
named) “John Doe,” later named Poe, rounded out
the trio of lead characters.
Kathleen Kennedy, Rick Carter, ILM senior visual
effects supervisor Dennis Muren, and the Visualists
journeyed to Skywalker Ranch on March 14 for a deep
dive into the archives. “That, to me, was one of the
most amazing highlights, because I hadn't seen the
majority of the artwork that Joe Johnston and Ralph
McQuarrie had worked on,” Erik Tiemens remembers.
“We were going through it, and there was something
so tangible about the physical presence of the origi-
nals. That was our spiritual launching point.”
LUKE & VADER Alzmann
“One of the primary entry point. J. was the question: ‘Who
is Luke Skywalker?—as if being asked by somebody in the
movie who doesn’t know. And that gets right to the point
what is Star Wars now? Who is Luke Skywalker? Is he still in
the game? Is he still with the Force? What's his role? What's
happened since then?” carter
vitLain “This one was ‘it’ for a while. J.J. saw this, and that’s
when he got the idea that this guy would be an imposter of
Darth Vader, in order to mess with Luke’s head.” Alzmann
4 DARTHFULLHEAD Church
THE ART OF STAR WARS: THE FORCE AWAKENS
44 MARKETBADGUYS Church SNOW FIGHT Tiemens and McCaig
“It’s dramatic, but it’s beautiful. And there’s silence in the piece.
But then there's this sort of quiet violence in the lights.” Tiemens
GUIDED IMAGERY” CONCEPT PHASE / MARCH 2013
4 BURNING Clyne
« NEWSTORMTROOPER CLOSE-UP McCaig
THE ART OF STAR WARS: THE FORCE AWAKENS
44 FIRETROOPERS McCaig STORMTROOPER B, BVERSION3,C&G “We just updated the stormtrooper and gave it
some edges. Things today have smaller radii, tighter lines. And they're more lightly J
d, as opposed to smooth and windswept like the stuff was in the seventie.
“GUIDED IMAGERY” CONCEPT PHASE / MARCH 2013
4 LUKE & ANAKINEPIPHANY “I love that quote from A Wizard of Earthsea, the fantasy 4 SUPERGUN CONTROL CENTER Church MILLENNIUM SURPRISE Church
novel by Ursula K. Le Guin: ‘When you light a candle, you also cast a shadow.’ That
inspired me to propose, for the first time, that Anakin’s ghost could come back.
THE ART OF STAR WARS: THE FORCE AWAKENS
“Ralph had created this really loose pen-
cil sketch of a Yoda-like character. So
I literally just did my version, painting
over his, using his proportions, just to
see if it could be something.” chiang
FOREST HOMESTEAD Chiang
SNOW BATTLE, DESTROYER DOWN SHOT
“This was when I was working at home, and
I don’t even think Rick had said ‘ice planet’
or anything. There’s a million tiny little
red lightsabers going up toward the struc-
ture. And there’s a line of blue lightsabers
defending it.” Church
4 SABERTOTEM Church
“GUIDED IMAGERY” CONCEPT PHASE / MARC
LI
Lo setsiak 2 Sans © TA
as
ALTERNATE YODA 001 McCaig
YODA Alzmann
4 YODASKETCHES Alzmann 4 RALPH YODA McCaig
48 THE ART OF STAR WARS: THE FORCE AWAKENS
4 KIRA’S (REY’S) PARTNER “At one point, John Doe was almost a Jedi, and then he was a bounty
hunter. I thought, ‘Well okay, let's give him a Wookiee!”” mccaig
4 SAM(FINN) DROID Church 4 EXOTIC VILLAGER Tyler Scarlet 44 STAR WARS CHARACTERS McCaig 4 DESERTBEAST Alzmann
“GUIDED IMAGERY” CONCEPT PHASE / MARCH 2013 49
An early Episode VII opening sequence con-
sciously mirrored the start of A New Hope, with a
rebel frigate pursued and swallowed up by a pirate
ship, whose design echoes the classic Star Destroyer.
“Part of J.J.’s whole riff on this is that he wanted the opening
of Episode VII to be very familiar—familiar to the point
where it actually mimics the beginning of Episode IV. The
Begin TITLE SCROLL for
setup is that they were parallel, but then you would quickly eh eect ee
realize that these are new ships and new villains.” chiang
‘The giant STAR DESTROYER Inside the COCKPIT, a YOUNG MAN
juickly, SEYLAR & Co.
rises behind the TUS. (SKYLAR) a WOOKIE and an R2 UNIT. ‘
LOAD their SALVAGE SHIP
with their plunder.
The TU0S nanouver the ‘The SALVAGE SHIP is R2 te t
ie trapped by FALLING
STAR DESTROYER. into Tipped away, taking DEBRIS and can’t make the
position... the WOOKIE with it. ESCAPE POD in time.
‘The ESCAPE POD launches
from the BURNING STAR
DESTROYER.
Tho pilot of the fast
-salerting © GANG TANDSPEEDER (THEA) quickly
‘of SALVAGE PIRATES scales the STAR DESTROYER.
4 STORYBOARDS McCaig, with Alzmann (bottom middle only)
50 THE ART OF STAR WARS: THE FORCE AWAKENS
PIRATE SHIP Clyne
“GUIDED IMAGERY
THE ART OF STAR
ARS: THE FORCE AWAKENS
> TIEBASE Dusseault
“GUIDED IMAGERY” CONCEPT PHASE / APRIL 2013 63
MAY 2013
As the Episode VII story progressed, a pro-
duction crew started to take shape. In Los Angeles,
Rick Carter considered co-production designer
candidates. Michael Kaplan (Blade Runner, Fight
Club) was hired as costume designer for Episode VII,
dovetailing with his J.J. Abrams collaboration on the
Star Trek reboot films. Neal Scanlan (Jim Henson’s
Creature Shop, Babe, Prometheus) was once again
tempted out of semi-retirement to become creature
effects creative supervisor.
Following a promotional world tour for the May
16 release of Star Trek Into Darkness, Abrams was now
able to turn his full attention to Episode VII. Two new
locations were proposed in May: a “Crime City” or
“Exotic City,” where our young heroes first encounter
a down-and-out Han Solo, and a new rebel base.
John Knoll, Roger Guyett (ILM VFX supervisor
for Episode VII), and Dennis Muren frequently sat in
on art department meetings with Carter. In a pivotal
meeting on May 30, Carter picked the brains of his
collective Visualists for Neo-Imperial schemes and
motivations. James Clyne recalls, “Dennis said, ‘Well,
it’s called Star Wars—where is our big thematic war in
space?’ And Dennis mentioned something like, ‘What
if they had the ability to take the energy of a star?”
The Force’s dark side feeds off of fear. And there
is no more base human fear than fear of the dark.
Muren wondered what if the Neo-Imperials found a
way to plunge the galaxy into darkness, metaphori-
cally and actually, by winking stars out of existence,
one by one. The Starkiller “sun-crushing” super-
weapon concept was born.
44 FALCONON WATER Church 4 KIRA(REY) GARAGE Luis Carrasco y JUNK WALKER DWELLING Chiang
66 THE ART OF STAR WARS: THE FORCE AWAKENS
y
Ps
: oie
Pe fo ope
VILLAGE RIDGE SHOT Clyne STAR DESTROYER DUNES “There'd be elements of things that have dribbled out of this
destroyed Star Destroyer. It’s become a little whiter, with minimal rust.” Tiemens
“GUIDED IMAGERY” CONCEPT PHASE / MAY 2013
The following two pages of concept
paintings illustrate Sam’s “hero's journey’—
his transformation from anonymous storm-
trooper to valiant rebel. Sam bears witness
to either a firing squad or airlock ejection
of a captured rebel crew, compelling him to
desert the Neo-Empire and escape with rebel
agent John Doe in a two-seater TIE fighter.
>» AIRLOCK Alzmann
4 STORMTROOPER EXECUTION DelaLongfish 4 RUNNING FOR THE HANGAR BAY Longfish
THE ART OF STAR WARS: THE FORCE AWAKENS
The fugitives crash-land on the desert junk
planet. John Doe abandons Sam at the crash site, but
he is soon rescued by members of an indigenous alien
tribe who take him back to their village and perform
a healing ritual. Sam is reborn a hero.
>» KEYFRAME 230 McCaig
Y PARTING WAYS Colin Fix
4 sHaman “The helmet that Sam has—marked with the bloodstained fingertips of
his dying friend—that's really what freaked him out. So he’s still got that helmet,
and when he wakes up, this weird alien’s wearing it.” mcCaig > SAM(FINN) McCaig
“GUIDED IMAGERY” CONCEPT PHASE / MAY 2013 69
—
—
—
~—
—
—
~—_
—
a4 CRIMECITY Church 4 SOLO Alzmann
THE ART OF STAR WARS: THE FORCE AV
JOHN DOE (POE) ARGUING Longfish
KIRA (REY) IN JUNK LINE Fix
JEDI KILLER CONCEPTS 03 &04 “The conceit was that Vader
wasn't just a one-off, he was a Lord of the Sith and he has a
specific title and a specific look that goes with that title. Even
though the mask was helping him breathe, there still was a
ain look to it.” Alzmann
JEDI KILLER SKETCHES 06 & 07 Alzmann
>» JEDIKILLER MEDITATION CHAMBER Alzmann
THE ART OF STAR WARS: THE FORCE AWAKENS
STAR DESTROYER GRAPPLING Church « BRIDGE “The Jedi Killer eats sun matter. He's in his meditation chamber, the sun energy MAZ CHAMBER CONCEPT Alzmann
mes into the room, and he grasps and eats whatever power that is.” Dusseault
MAGERY” CONCEPT PHA
ye
44 BUNKER RyanDrue TIESUNSET “This is a moment of TIE fighters coming in— 4 MOHERBUNKER “These structures were actually sound dishes in England. Leia’s base
our riff on Apocalypse Now. Some of those moments are so was really a hidden fortress, like in The Guns of Navarone, hidden in the cliff walls
powerful that all we have to do is put in something different at the Cliffs of Moher.” chiang
like TIE fighters, and it totally works.” chiang
THE ART OF STAR WARS: THE FORCE AWAKENS
4 MOHER BUNKER Chiang y TEGRAVE “This was a dump somewhere in Somalia. I just replaced it with a bunch of TIE fighters.” Dusseault
“GUIDED IMAGERY” CONCEPT PHASE /
JUNE 2013
On June 20, Darren Gilford (TRON: Legacy,
Oblivion) was introduced to the art department as
the new co-production designer on the project. Rick
Carter said, “I'm going to try to guide it to where I
think it can go. But I can’t be taking up a lightsaber
hting a duel with a bunch of young Jedi.
re young, they’re talented. It’s their time.
“So I answered the phone, he basically sai
this is Rick. Am I catching you at a bad time?” Gilford
remembers. “Well, actually, I'm coaching my son's
Little League game. Can I call you back?’ He goes, ‘Yes,
call me back when you are done. I just want to see if
you would be interested in co-production designing
Star Wars.’ | thought it was a practical joke. But then
Icalled him back, we chatted, and I couldn't believe
the opportunity and that I was even in the realm of
people who were being considered.
“It was the best of both worlds. I had all of his
experience and all of his knowledge, which is huge—
this massive amount of clout that Rick brings to
the project. What I can bring to it is the generation
that grew up really loving it. The fabric of my whole
existence is woven into Star Wars—who I am and
what I do.”
The interior of a decaying Star Destroyer, the
collapsed AT-AT that Kira coopts as her dwelling, a
Neo-Imperial Star Destroyer, and the new archetypal
mentor character of “Maz Kanata” were all first tack-
led in June. The depot town, Exotic City, Starkiller
planet—occasionally known as the “Doom Star” at
this time—and Leia’s rebel base saw further develop-
ment as well.
THE ART OF STAR WARS: THE FORCE AWAKENS
aa
STAR DESTROYER INTERIOR CLIMB Church
re
DESERT Chiang
’
JEDIKILLER CONCEPT Alzmann
SNOW PLANET THRONE ROOM “What would the Jedi Killer’s fortress
be like? I was again taking iconic shapes that we know from Star
Wars but putting a different material on them—in this case turning
them into concrete instead of that slick painted metal.” chiang
JEDIKILLER CONTEMPLATION “This was back when the MacGuffin
was the melted helmet of Vader. | did a few passes at designing what
a new meditation chamber might look like.” aAlzmann
ECLIPSE TIE FIGHTER Chiang
GUIDED IMAGERY” CONCEPT PHASE / JUNE 2013
44 WESTERN TOWN Dusseault « pipes “That's that AT-AT house, a little market thing. There might be a chance that that’s where Kira will reside.” Dusseault
THE ART OF STAR WARS: THE FORCE AWAKENS
4 STAR DESTROYER FOUR PRONG Clyne ¥ STAR DESTROYER BRUTAL ANGLE
4 REDSTARDESTROYEREXTERIOR “Rick is the guy who started saying, ‘Put a red ship in >» SUNSET WATER TOWER Clyne and McCaig
there. Put a red ship in there.’ I think J.J. had asked for a red Star Destroyer at one point, “I did this to mirror Luke’s moment looking at the
just to see, on a whim, what that looks like.” church double sun. You understand who he is. It’s such a
magical moment.” Clyne
“GUIDED IMAGERY” CONCEPT PHASE / JUNE 2013
Early in Episode VII’s development, Rick Carter and J.J. Abrams
discovered that they both had a common mentor: award-winning and
adored Palisades High School English teacher Rose Gilbert, who retired at
the age of 94 in early 2013 (she subsequently passed away in December of
the same year). In tribute to Gilbert, character concept artists Christian Alz-
mann and Iain McCaig were tasked with creating “Maz,” whom our heroes
first encounter at an Exotic City bar that she runs.
MAZ CONCEPT Alzmann
CRIME CITY HARBOR ROUGH SKETCH “Then there was this idea for this Exotic City area:
Crime City. And maybe it would have a wharf, where ships would come and land.” Tiemens
CRIME PLANET PARKING SPOT SHIP DOCK Church
THE ART OF STAR WARS: THE FORCE AWAKENS
44 KIRA (REY) WRECK HALLWAY Chiang 4 STAR DESTROYER RUBBLE Clyne
“GUIDED IMAGERY” CONCEPT PHASE / JUNE 2013 85
— z
44 REBELHANGAR WIDE Church 4 FoRESTBASE “This is when the octopus monsters were on the surface of the planet, not up on Han’s freighter.
It’s like J.J. knew what imagery he wanted in the m the designs just had to find their way.” Church
THE ART OF STAR WARS: THE FORCE AWAKENS
44 SNOWBASEWIDE “J.J. did this really quick sketch of a ball with circles in it. So | adapted that 4 DOOMSTARFRONT SHIPS “Thi: saying, ‘A red ship,
quick little sketch and made these big ports. I like the idea of a belt of asteroids, not actually aster- not a Star Destroyer. Something weird and red.”” Church
; they're chunks of this planet that they've Chunnel-ed out and discarded int
“GUIDED IMAGERY” CONCEPT PHASE / JUNE 2013
CATACOMBS MAZ Allsopp
“Both the interior and exterior of Maz’s castle were much
less challenging for the construction team. The plaster and
stonework are the sort of pri they do regularl) Iford
VILLAGE ouTFIT “Finn, formerly ‘Sam,’ would obviously have to lose his stormtrooper
armor, but what would be under the armor? I remember J.J. saying, ‘There's got to be a
way that he picks up Poe’s coat.’ So we had to do a jacket that would be a bit pilot-like
that then John Boyega could wear.” Dillon
PRE-PRODUCTION
The pre-production design phase began in earnest in July
2013 at Pinewood Studios, Buckinghamshire, with the inception of
the UK production art department, Neal Scanlan’s creature effects
department, and, following a visit to Lucasfilm on July 12, Michael
Kaplan's costume department. Unlike previous Star Wars productions,
all three departments would have their own handpicked design teams,
including veteran creature designer/sculptors Jake Lunt Davies, Luke
Fisher, Ivan Manzella, and Martin Rezard and costume concept artists
Glyn Dillon and Magda Kusowska. “I don’t think Neal's necessarily
been in a position to offer up an art position,” creature concept de-
signer Jake Lunt Davies says. “It’s great because, lots of times, within
the industry, you can get a lot of art, which perhaps dilutes or changes
things between concept art and the final puppet or model or creature.”
Concept artist Andrée Wallin, who worked with Darren Gilford on
Oblivion, also joined the UK production art department in July.
Co-production designer Gilford relocated to Pinewood to oversee
all three UK art departments and synthesize work from both sides
of the Atlantic Ocean, while Rick Carter continued his work with
JJ. Abrams and the US art teams from Los Angeles. “We could get
notes from J.J. and basically be working 24/7,” Gilford recalls. “While
we were sleeping in London, the guys in LA would be working. So it
was a constant 24-hour process of pumping out as much artwork as
we could.”
rincipal photography was slated to begin in Abu Dhabi, capital
of the United Arab Emirates, with the two-week Jakku desert loca-
tion shoot.
n anticipation of the main shooting unit’s arrival in the UK, the
first The Force Awakens sets were constructed on the Pinewood lot in
early 2014, including the soundstage-filling Star Destroyer hangar,
Millennium Falcon exterior, and backlot Jakku village. Nine of Pine-
wood's stages would ultimately be utilized, most for several sets, as
well as the outdoor backlot and paddock areas. But the colossal push
to design, build, and deliver all of the sets, props, set decorating, cos-
tumes, and creatures for the Jakku location shoot would come to
dominate pre-production.
Gilford remembers, “We were working in an environment that
is incredibly hostile, with incredibly strong winds, sandstorms, 120
degree temperatures. And we were building big stuff, so Abu Dhabi
was very challenging.”
JULY 2013
As the UK departments got up to speed,
stateside designs continued on several fronts. The
Starkiller planet, home base of the Neo-Empire, and
their new TIE fighter saw further refinement. Designs
for guru character Maz, her gambling den/canteen,
and John Doe's droid companion inched ever forward.
Leia’s rebel headquarters were temporarily relocated
from their previous cliff face to a dense jungle setting.
James Clyne’s concepts for a Star Destroyer
hangar and new stormtrooper transport vehicles
were among the very first J.J. Abrams—approved
designs on the project, although they wouldn't begin
construction for many months.
And the story beats of two thrilling action set
pieces, the Neo-Empire’s attack on a Jakku village
and the subsequent “graveyard” chase between
several TIE fighters and the Millennium Falcon, started
to come into focus.
THE ART OF STAR WARS: THE FORCE AWAKENS
TTT
4 TIELOADER Clyne
Mitt
CHASE VERSION 02 Chiang
KIRA (REY) SHIP & SPEEDER “It's her hero ship. It tells
us a lot about Kira and is something that she’s made
from a lot of different parts, in her eclectic way.” Church
STEAM POD Dusseault
KIRA (REY) McCaig
PRE-PRODUCTION / JULY 2013
4 ICEPLANETEXTERIORS.2 “A whole Brutalist architecture came on—sort of German, massive, weird-looking, heavy
concrete structure stuff. It’s definitely been informing what the Imperial third-act planet's going to be.” Dusseault ¥ ICEPLANET EXTERIOR 10.1 Dusseault
THE ART OF STAR WARS: THE FORCE AWAKENS
TIELANDING Chiang
TIELANDING “We did a lot of explora-
tion of how this TIE fighter could land.
But of course we had to ask: ‘How the
hell do you get out?’ My answer was
you go to Home Depot, and you get the
cheapest ladder you can buy [laughs],
and you throw it out the back.” clyne
>> JUNGLE Tiemens
PRE-PRODUCTION / JULY 2013
VILLAGE FIRE WITH BRIDGE Tiemens
4 VILLAGE overview “I spent a month or so on village design concepts. Production wanted to basically flood a LANDING SHIP ATTACK Chiang VILLAGE FIRE Church
somewhat level area outside, and then green it up like a rice field and make these structures.” Tiemens
aves on eemREMT HS
THE ART OF STAR WARS: THE FORCE AWAKENS
« steampop “Probably the least Star Wars thing I've done [laughs] for this film: a very first piece
on an Empire land vehicle. It’s too much—it’s too complex—but people still like it.” Dusseault
y KIRA(REY) SHIP Church
4 FRIGATE VHEAD Church Y IMPERIAL BOARDING CRAFT EXTERIOR WIDE Church
PRE-PRODUCTION / JULY 2013 97
FALCON CHASE VERSION 01 Chiang
FALCON CHASE VERSION 03 “I love the idea of
just mixing the two—where you put something
that’s so iconic, like a Star Destroyer, into a new
context, into a desert. As ridiculous as that is,
it’s what I think is part of the amazement and
charm of Star Wars.” Chiang
THE ART OF STAR WARS: THE FORCE AWAKENS
BRIDGE3.1 “In everything I do, I really make an effort to look at legac)
architecture, little details production would use and try to use them in the
same percentage. And I imitated some of the lighting as well—particu-
larly the amount of little red lights.” Dusseault
DOOM STAR SURFACE Church
ICE PLANET EXTERIOR Dusseault 4 HIGGINSINTERIOR Clyne
PRE-PRODUCTION /
\v : S ae nnnnecee ak SIRS 25
\ | | wa a Lies
4 LOADING BAY CONTROL “Instead of a square, I chose a hexagonal hangar aperture. It seems really simple, but it took so much effort to arrive at that. Angling
those walls, the initial intention wasn't the TIE fighter dispenser. But I think Darren was like, ‘Well, what if it's more of a P er kind of thing?” clyne y HIGGINS Clyne
cma
_
>» CHESS GAME McCaig
¥ DROID COCK-FIGHT “So if you're going to
have a cock fight, don’t have big monsters
fighting. Have two dorky little droids duk-
ing it out like Robot Wars, and everybody
gambling on it.” Mccaig
DROID Cocke -— FISHES: 4 ROULETTE McCaig
PRE-PRODUCTION / JULY 2013 101
AUGUST 2013
August started on a fun note for the San
Francisco-based Visualists, with a visit from Mark
Hamill, who returns as Luke Skywalker in Episode
VII. Hamill arrived with his wife, Marilou, and son
Nathan. He generously spent an entire Saturday after-
noon with the designers, in which he told hilarious
story after story from the set of the original trilogy.
Michael Arndt turned in his outline for Episode
VII in August, quickly followed by a work-in-progress
script draft. Neo-Imperial interior sets, including
the Star Destroyer’s torture room and “cobra-head”
bridge overlooking the hanger, and the form and
function of their ice planet base were further devel-
oped. The Visualists also continued to fine-tune the
junk world of Jakku, specifically the starship grave-
yard and sacred village. Pushed into even further
contrast from Jakku, Exotic City picked up specific
design influences from original trilogy concept art
legend Ralph McQuarrie. Across the Atlantic, the
creature department saw its first round of approvals
for alien characters later populating the outpost and
Maz’s saloon.
>» BILLOWING CLOAK AND HOOD Dermot Power
> GUNBRIDGE FIGHT Dusseault and Tiemens
“Ultimately, for Obi-Wan Kenobi, halfway through Star
Wars, to realize that if he sacrifices himself and makes
his own death of his making as much as the person
who's causing his death, he’s making himself more
powerful than anybody can imagine. And it’s witnessed
by a third person, that young man. It's been in front
of everybody for all these years. But you don't see Obi-
Wan Kenobi everywhere. You see Darth Vader, you see
Yoda, and you see Luke. But Obi-Wan’s the one who
made it all happen.” carter
102 THE ART OF STAR WARS: THE FORCE AWAKENS
ANAKIN/VADER GHOST 01, 02 &03 “If we see Anakin
Skywalker, because he does flow back and forth between
Darth Vader and Anakin, let's see him as a character with
a dark and light side. The reason Luke is this whole new
entity is because he was the first to acknowledge his own
dark side—that it was not separate from him.” mccaig
PRE-PRODUCTION
AUGUST
TUNNEL CHASE Church
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xe
2S SS
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THE ART OF STAR WARS: THE FORCE AWAKEN
NEO AT-AT Chiang
r
4 JEDIKILLERLIMOTIE Church
4 BIGSCOUT Clyne
>» FOLLOW THE PRINTS Alzmann
>» FALCONCRASH “The goal was to come up with an image
that’s really provocative, in terms of lighting, to create
mystery, power, and drama. So that when you look at it,
without even knowing what the story is, you begin to ask
yourself questions.” Chiang
Mite
AANA
et
D.cCHA I ——
44 EXOTICCITY 4.5 Dusseault 4 EXOTIC CITY RAIN BREAKDOWN Dusseault and McQuarrie
“The rain; Middle Eastern, rich colors—that was the process. Initially, Rick was saying Casablanca. There was a simpler version of this
that I created, which was based on one of Ralph McQuarrie’s paintings that Rick really liked because it was so simple.” Dusseault
THE ART OF STAR WARS: THE FORCE AV
4 EXOTIC PORT Dusseault
PRE-PRODUCTION /
Starting with a simple sketch from J.J. Abrams,
the ball droid companion of John Doe, nicknamed
“Surly,” was first conceptualized in mid-July 2013 by
concept artist Christian Alzmann.
>» ROLLING DROID VERSION 01 Alzmann
¥ SURLY STICKY NOTE J.J.Abrams
“There's a little Post-It drawing that J.J. did of the exact
shapes he wanted: two circles and a head magnetically
floating above the sphere. He even did a dash and dot for
the eyes and a smile, and I tried to build that into the old
droid aesthetic.” Alzmann
4 ROLLING DROID VERSION 03 Alzmann 4 SURLY VERSION 04 Alzmann 4 SURLY VERSIONOS Alzmann
10 THE ART OF STAR WARS: THE FORCE AWAKENS
TREADS Alzmann
DROID ASSEMBLY 01 “At the time, the first place we saw Surly was a droid repair area on
a Star Destroyer. If you can't be repaired, they just toss you in the furnace.” Alzmann
DPROIP REPAIR AREA VIEW |
44 FACE Alzmann 4 DROIDREPAIRAREA Alzmann
PRE-PRODUCTION / AUGUST 2013
AERIALAPERTURES Church
CAVEENTRANCE “Early on, Rick said, ‘Desert, forest, snow: That’s where we'll STARKILLER SEQUENCE 08 Chiang and Wallin
start. I think if we go with those three planets, that will create a Star Wars feel
and bring just enough color to the movie.’ This was more of a bunker idea—the
entrance to a mountain fortress.” Alzmann
Y STARKILLER SEQUENCE 03 Chiang
THE ART OF STAR WARS: THE FORCE AWAKENS
\S ius
44 CONTROL ROOM MEDIUM SHOT Clyne 4 INTERROGATION ROOM WIDE Clyne
PRE-PRODUCTION / AUGUST 2013
SEPTEMBER 2013
September marked a personnel shift in the
California-based concept art teams, with Iain McCaig
and Erik Tiemens moving on to other jobs, and Thom
Tenery, who worked with Darren Gilford on Oblivion,
Fausto De Martini (RoboCop [2014], Transformers: Age of
Extinction) and Matt Allsopp (Godzilla [2014]) coming
on board. “Adding them on didn’t come about until
a little bit deeper into the project when we saw a
window,” Gilford recounts, “and I said, ‘Hey, there’s a
couple guys I'd like to bring into this fold who I think
are super talented.”
Tenery and De Martini, who primarily focused
on vehicles, were stationed at Bad Robot Productions
in Los Angeles, where they could immediately address
design issues with JJ. Abrams and Rick Carter. Allsopp
joined Gilford’s Pinewood-based art department.
The costume department's stormtrooper,
snowtrooper, and flametrooper armor and weapon
designs got their initial director approvals in Sep-
tember. Simultaneously, approved alien and droid
concepts continued to pour out of the creature
department. Starkiller base and crashed Star Destroyer
designs saw further refinement. And Tiemens’s design FALCON APPEARS Church
and lighting concept for the trading post at the center HANGAR BAY WIDE “The questions were: ‘How do we reuse the neo-Star Destroyer hangar?’ and
of the outpost defined the structure, until it was raised ‘Is there another way we can use it on the Starkiller base?’ Initially, this was going to be the location
on the salt flats outside of Abu Dhabi. where Kira could steal a TIE fighter and get out. That whole buttress rock area was riffing off an
idea that Erik Tiemens had. So we thought, let’s try to keep it alive.” clyne
THE ART OF STAR WARS: THE FORCE AWAKENS
4 GRAVEYARD Chiang
.nota
with the idea of creating Sand People. One of the drafts I created got picked up, which had a little monk or a Jedi, but the creature has this gravitas about him. One of the things that really
bit of a lobster feel about it, especially in the face.” Rezard inspires me is getting away from the human shape while retaining expressivity.” Rezard
4 SANDPEOPLEHEAD “Sarco Plank came up when we were doing research and producing designs « oLppriest “I started to develop a backstory with him, that he was this kind of
PRE-PRODUCTION / SEPTEMBER 2013
INTERIOR VIEW Tiemens and Dusseault Y DEPOT Dusseault
THE ART OF STAR WARS: THE FORCE AWAKENS
Ses
HANGAR BAY “This Star Destroyer hangar has to look decrepit and huge and old, which was challenging. We went
back through the classic trilogy, and the hangar is one of the only Star Destroyer sets you see, the only set that can
conjure specific, iconic imagery.” Church
4 KIRA (REY) DROPS INTO WIDER COMPARTMENT 4 ENGINE ROOM JUMP Clyne 4 KIRA (REY) RACES OFF ON HER SPEEDER Chiang
Chiang and Wallin
PRE-PRODUCTION / SEPTEMBER 2013
4 SCISSOR WING Church > SHIP Allsopp
< INTERIORAFT “The classic TIE fighter interior looked
good in the movie. But when you see the set photogra-
phy, it isn’t great. What it did have is an aesthetic that it
was easy to extrapolate.” Church
THE ART OF STAR WARS: THE FORCE AW
———_ .
_--
4 PIRATE’S SMOKE Dusseault and Chris Bonura 4 PREVIOUSLY KIRA’S (REY’S) RIDE Thom Tenery
PRE-PRODUCTION / SEPTEMBER
4 STAR DESTROYER DROID HO16 “At one point, we were thinking
maybe the Jedi Killer had his own droid, whether it’s a torture
droid or we weren't sure what. You can't really see anything
obvious that it can do other than observe you [laughs]. But it’s
quite an ominous-looking thing.” Luke Fisher
< STORMTROOPER Dillon
“The way George had always described stormtroopers to me
was as living skeletons, way, way back, when I was working
on The Phantom Menace battle droids. That always stuck
with me, because I remember when I was little, seeing them for
the first time, they always looked like Halloween costumes of
skeletons.” Chiang
THE ART OF STAR WARS: THE FORCE AWAKENS
SNOW TROOPER
» MAZ’S CASTLE ALIEN C009 Fisher
122 THE ART OF STAR WARS: THE FORCE AWAKENS
4 TABLE CLEANER Coos “I was pretty pleased by the alien being all over the film! Roodown
is vastly bigger than the other aliens of the same species. I just thought he'd fallen down
on his luck, and now he’s got these giant JCB-style arms.” Davies
4 RESISTANCE UNIFORMS GROUP Magda Kusowska
>» COLLECTS AND SELLS ITEMS C012 “I started sketching ways to hide the human body
and out of that came this design. ‘One-Man-Band' is this sort of glorious combination
of everything you can get in a creature: bending the body, animatronic puppets, remote-
controlled bits and bobs around the performer.” Davies
PRE-PRODUCTION / SEPTEMBER 2013
123
OCTOBER 2013
In October, the Visualists illustrated designs
for a castle inspired by Ralph M
nary drawings for Darth Vader's fortress. At first, it
juarrie’s prel
was to be Princess Leia’s castle, where our band of
heroes seek her after leaving Exotic City.
Roger Christian, Episode IV's set dresser and
creator of the very first Star Wars lightsaber and blaster
(and today a director in his own right), visited Lucas-
film on October 15 and 16 to meet with the Episode VII
art department and the Star Wars Rebels team.
In late October, Lucasfilm announced the
departure of Michael Arndt from the produc
After having consulted on the film since January
alongside screenwriter and producer Simon Kinberg
(X-Men: Days of Future Past, Star Wars Rebels), Lawrence
Kasdan (screenwriter of Raiders of the Lost Ark and
reenwriter of The Empire Strikes Back and Return of
the Jedi), and J.J. Abrams resumed screenwriting duties
in Arndt’s stead. Concept artist Christian Alzmann
also left the project in October, transitioning to other
ILM shows.
The collective US-UK art departments concen-
trated on the Jakku village attack; Kira’s fallen AT-AT 4 CASTLE INTERIOR 1.2 Dusseault
home; rebel, Neo-Imperial, and non-aligned vehicles;
as well as the still-unapproved Jedi Killer villain.
CASTLEMERGE “We eventually made the castle a little . For a while, it was
feeling very realistic—a paintover of Eilean Donan Castle in Scotland,” Dusseault
4 CASTLEINTERIOR 3.3 Dusseault RESISTANCE BASE HALLWAY Wallin
PRINCESS LEIA FATIGUES Dillon
SABER REVEAL “That was one of the arguments Ryan Church and I had,
over whether the lightsaber actually throws light within the environment.
Initially, I thought they should not, because that makes them almost magi-
cal in a way.” Clyne
PRE-PRODUCTION / OCTOBER
4 VILLAGEHIGH WIDE “We came up with this new
focusing on adobe-type architecture with these
ifferent eclectic forms found in Africa, specifically
Ethiopia.” chiang
<« VILLAGE CLOSE-UP Allsopp
THE ART OF STAR WARS: THE FORCE AWAKENS
4 JEDIKILLERLIMOLANDED Church y HUT EXTERIOR Clyne
PRE-PRODUCTION / OCTOBER 2013
STAR DESTROYEREXTERIOR “That was actu-
ally based off a thing that James Clyne had
done in Star Trek Into Darkness: He put a
bunch of negative spaces in the villain’s black
ship. I thought, ‘Well, let’s try it with the Star
Destroyer.” Church
HUT INTERIOR LOOKINGIN Church
AT-ATIDEA “The fallen AT-AT goes nicely
with the crashed Star Destroyer—having the
remnants from the original movies
time like that.” Wallin
THE ART OF STAR WARS: THE FORCE AV
DARTH VADER’S HELMET “I was looking at mum-
mified heads for Vader's helmet. And I thought it
was just amazing how the skin sort of stretches down
and distorts to look like a screaming face.” Fisher
JEDI KILLER NEW CONCEPT AMENDED “The Jedi
Killer design was like trying to land a helicopter
on a penny. We couldn't be too Vader-ish, but
we couldn't reference something else too heavily,
either.” Dillon
CRASH SITE ANGLE2 “People were talking about how
cool the TIE fighter build was. I ran down there, and it
had gotten disassembled. It was like my one chance to
see it in all its glory, and I missed it [laughs].” wallin
TIE FIGHTER SPECIAL OPS Fausto De Martini
BLACK OPS FIGHTER Church
THE ART OF STAR WARS: THE FORCE AWAKENS.
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KIRA (REY) NEW DESIGN06 “There was talk at the beginning
that Kira would have quite a lot of gear for climbing, in addi-
tion to a lot of tools. Then, as we went on, we thought it should
be simpler, pared down.” Dillon
136 THE ART OF STAR WARS: THE FORCE AWAKENS
AT-ATSLED “Once in a while, there'd
be a day where Rick would
forget everything I said [laugk
whatever you want.’ Th just a fun
idea to have guys on speeders jumping
onto another moving vehicle. Maybe
some stormtroopers came out and there
would be a good ol’ fistfight.” clyne
KIRA (REY) HALLWAY Chiang and Wallin
«\ \
PRE-PRODUCTION
VEMBER 2013
4 REPUBLIC PLANET SKETCH Allsopp y REPUBLIC PLANET PAINTOVER Allsopp
THE ART OF STAR WARS: THE FORCE AWAKENS
« troopsHorT “I added the lenses, and the clip bit that goes between the lenses and the grill, and also the one breathing-tube thing.
Originally, Michael Kaplan just wanted that to be a black void, because he wanted everything to be completely simple.” pitton
4 TIE&FALCONENTWINED “We were throwing out third act ideas. This is an entangled skirmish between the Falcon 4 STORMTROOPER BREAKDOWN Dillon
and TIE fighter, where everyone is crawling on the surfaces of their vehicles, which is always so great.” Church
PRE-PRODUCTION / NOVEMBER 2013
4 CASTLE ALIEN C050 “Co5o was a very simple head. But I designed it with the actor
Kiran Shah in mind. It kind of looks like Kiran.” van Manzella
«CASTLE DROID HO27 “Neal said, ‘Let’s put a stilt-walker in it!’ I thought he was mad!
[Laughs.] Katy Coleman, the stilt-walker/performer, did a great job inside.” Fisher
y MAIN STREETEXTRAS0O1 Pope
140 THE ART OF STAR WARS: THE FORCE AWAKENS
4 X-WINGBASE “This net was taken directly out of World War II German attacks on London.
They would span these nets to cover entire blocks.” Dusseault
» JEDIKILLER SNOW SCENE “I remem-
ber feeling really excited when I first
drew that. This could be it; this could
be the Jedi Killer [laughs]. And
then, when they said they need the
Guavian Death Gang, I immediately
thought to get that guy’s mask in
there.” Dillon
y JEDIKILLER NEW CONCEPT Dillon
Py
Y THESEVEN LIGHT Dillon
PRE-PRODUCTION / NOVEMBER 2013 143,
After a scouting visit, Greenham Common,
a former Royal Air Force station an hour from
Pinewood Studios, became a leading candidate for
an Episode VII location shoot. The six aboveground
nuclear strike shelters were considered for Exotic City,
the home of Maz and her alien-filled pub.
4 OLD SKOOL ROBOT FIGHT 01 Church 4 VILLAGE EXTERIOR HIGH WIDE Church
4 BARCENTER “One idea I had was, what if there’s literally a bi tank?
The idea came from The Right Stuff, where they're all at a tiki bar and this
mermaid comes down to flirt with one of the astronauts.” Clyne
THE ART OF STAR WARS: THE FORCE AWAKENS
44 OFFICEINTERIOR VIEW 1 Wallin OFFICE INTERIOR VIEW 5 Wallin
PRE-PRODUC
DECEMBER 2013
y LITTLEBEASTBIOMECH “We were talking to Brian Herring,
who is our puppet-performers guy, about the stage play War
Horse. ‘What can we do that uses that technology?’ Again,
with the beauty of digital technology, we do have the potential
for rod removal, leg removal. How far can we push it?” Davies
After a frantically paced year of development
and design on Episode VII, the artists had created
tens of thousands of concept pieces. With principal
photography slated to commence in the early sum-
mer of 2014, an even more desperate push was about
to begin, so the art departments breathed a collective
sigh of relief in anticipation of the coming holiday
break. Prior to the respite, however, J.J. Abrams
called a crucial meeting on December 13 at Bad Robot
Productions in Santa Monica to pitch the most recent
version of the Episode VII story, supported by Rick
Carter and the latest concept art.
Darren Gilford remembers, “Episode VII com-
poser John Williams was there, Larry Kasdan was
there, as were all the players from Lucasfilm: Kathleen
Kennedy, ILM. We all broke for Christmas and New
Year's, but I just remember leaving that room feeling
so excited—a childlike feeling of ‘wow.’ I think it was a
turning point for a lot of people. J.J.’s enthusiasm is so
sincere and endearing, and it was so great to hear.”
Days later, Kasdan and Abrams turned in their
first draft of the still-untitled script.
’ DEPOTGATE Allsopp
146 THE ART OF STAR WARS: THE FORCE AWAKENS
X-WING BASE Dusseault 4 LANDING PADS 03 Allsopp 4 LANDING PADS 01 Allsopp
4 DOCK VEHICLE 2SCAFFOLD Tenery 4 FAMILY SHIP SHAPE DEV Tenery
PRE-PRODUCTION DECEMBER 2013
4 MAINSTREETESTABLISHING “I think this got pretty close to what Y BARENTRANCE ESTABLISHING “We thought it would be interesting if half the city was subterranean.
the bar town could be. But there were some clashing motifs.” Clyne Those were Indian fairy tale designs on the murals, just giving it some texture
THE ART OF STAR WARS: THE FORCE AWAKENS
MAZ’S CASTLE ALIEN C069 “J.J. always loved that March 1975 Ralph McQuarrie ‘Cantina’ painting. So I did a maquette based y BARBUNKERINTERIOR “There was a second floor, at the time, that
on the creature from that. And I did this maquette based on older Chewbacca illustrations that McQuarrie had done.” Manzella Maz lived in. And she’s cooking there or preparing potions.” Dusseault
4 MAZ’S CASTLE ALIEN C049
Manzella
PRE-PRODUCTION / DECEMBER 2013
JANUARY 2014
With less than five months until the start of
principal photography, the art, creature, and costume
departments returned from the holidays with renewed
spirits and sense of purpose. In Los Angeles, Thom
Tenery and Fausto De Martini refined the look of Han
Solo’s cargo hauler interior, while the pirate gangs
that confront Solo there continued to evolve in th
costume department. A new corner of a very famil-
iar room on Solo’s other ship, the Millennium Falcon,
was revealed. F g touches were put on another
vehicle, the new X-wing starfighter. And a final design
for Kira’s speeder came from an unexpected source:
the creature department.
The creature department polished off designs
for Poe's (formerly John Doe’s) newly named astro-
mech droid, BB-8. The as-yet-unnamed Jedi Killer
and the gang he fell in with as a young man slowly
evolved, as well. But an approved design was still
months away.
Ryan Church journeyed home to Los Angeles
and joined the team at Bad Robot for his final month
and a half on the film before returning to ILM in
San Francisco for other projects. Art director Kevin
Jenkins, who previously worked with Rick Carter
on War Horse and Lincoln, was recruited by ILM and
assigned to the Pinewood-based art department.
When I was a kid,” Jenkins recalls, “I got The Art of
The Empire Strikes Back, which switched me on to go
into film. The thing I've tried to have in my mind this
whole year is: Protect it, protect it, protect it. My love
of the late-seventies, early-eighties movies has tran
ported me to 1986, and I’m designing this movie with
that era in mind.”
HAN’S CARGO HAULER BIG MOUTH TRI “The idea here was
Han and
broken-down big rig. I think the prevailing metaphor was
this big huge baleen whale just overwhelming the Falcon
and swallowing it whole.” tenery
hewie are truck drivers piloting a big old rusty
THE ART OF STAR WARS: THE FORCE AWAKE
RED STRUCTURE SMALL CONTAINERS Tenery and De Martini
=
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Lanpine BAY “This is sort of the classic Star Wars, Millennium Falcon-in-the-hangar moment. Not unlike >> BUNKERENTRANCE JUNGLE Allsopp
the Mos Eisley reveal of the Falcon in A New Hope and in any number of other shots, like Hoth.” Tenery
4 MOD DROID Dillon >
>» MODS GROUP SHOT Power iz *
PRE-PRODUCTION JANUARY 2014
JEDI KILLER BIKER Dillon
THE ART OF STAR WARS: THE FORCE AWAKENS
cHaMBER “This is Boris Karloff's face from The Mummy
(1932). The shape of the room echoed some of McQuarri
past work, specifically these vertical trapezoid rooms
GANG GROUP SHOT Dillon
CREWMAN PROFILE “This was an idea for the Jedi Killer.
When it didn’t get approved, I thought, ‘Well, it would be
good for the crewman.” Dillon
YOUNG JEDI KILLER NEW CONCEPT Dillon
EAWIEO© Ext Hinks ELMER CA - PLANS 4 ELEVATIONS
KIRA’S (REY’S) HOME VIEW “That was an assignment that I got ona
Monday and finished in one day. Then J.J. approved it, straight away. And
I nearly fell out of my chair. ‘Surely you're just messing with me right now,
because designing this was supposed to take months.’ [Laughs.]” wallin
EXT KIRA’S (REY’S) BUMPER CAR - PLANS & ELEVATIONS Andrew Palmer
KIRA (REY’S) SPEEDER FINAL “Luke's speeder is a very simple slab, like a big
bar of soap. I was thinking that’s one silhouette which works very well. I was
also looking at industrial vehicles, like tractors.” Davies
PRE-PRODUCTION / JANUARY 2014 155
STARKILLER CONTROL ROOM Church
“It was an interesting challenge, that one, because the only time you've ever really seen the Star Destroyer
bridge before was when it was framed in space. This time, we were going to reuse that set for a couple
rent spaces, one being the control room for the Starkiller base on the surface of that planet. So that’s
inherently going to flip the set's contrast from dark space outside with the bridge’s lighter interior to a
blown-out, almost white-snow environment outside with a darker control room interior.” Gilford
BB-8 FACE DESIGN “We needed to create this illusion that BB-8 was freer rolling than he actually
appeared. We came up with this solution that he would be divided in six, like dice. So when it actually
rolls, the pattern goes haywire. We also infused BB-8 with little references to the Artoo-Detoo designs.
We gave him this asymmetric, three-eyed sort of look, with one prominent Cyclops eye.” Davies
4 VEHICLE DESIGNS Chiang
THE ART OF STAR WARS: THE FORCE AWAKENS
’ BIGBEASTELEPHANT2CLEAN “J.J. did his
first tour of our workshop, and we rounded
it off by having this enormous thing charge
out of a side door into the main warehouse. It
was a risk. Fortunately, he loved it.” Davies
OUTPOST ALIEN C015 Davies
« OUTPOST ALIEN C034 Davies
» CASTLEALIEN 077 “I love all those
really cheap and cheerful seventies and
eighties sci-fi movies. Because of that,
I conceived a character like this one,
with the little robotic arms, the little
pincers—real Robby the Robot sort of
stuff. They aren't the sort of creature
you could put in any slick sci-fi film
today, but when J.J. saw it, he said,
‘It’s so Star Wars.” Manzella
PRE-PRODUCTION / JANUARY 2014 157
SCALE 1/4" to 10"
MILLENNIUM FALCON CORRIDORS PLANS & ELEVATIONS Lydia Fry
“You walked onto that Falcon set, and you just felt like a child again. Watching other people walk
in was one of my favorite things. ‘Oh my God. Here we are. We're back in the Falcon.” Gilford
FALCON CORRIDOR Allsopp y INFIRMARY Allsopp
THE ART OF STAR RS: THE FORCE AWAKENS
JEDI KILLER ROCK THROWING
Killer throwing
quick morning of doing this at Bad
Robot before a meeting with Rick.”
Church
X-WING SHOT De Martini and Church
PRE-PRODUCTION / JANUARY 2014
FEBRUARY 2014
Ireland’s Skellig Islands and the larger island’s
sixth-century monastery were chosen by Abrams and
the production designers to stand in for Luke Sky
walker’s homestead; the concept artists got their first
crack at integrating location photos into their designs.
Artists from both sides of the Atlantic contributed to
a big design push for the interior of Maz’s castle, as it
was finally decided to blend the long-gestating
City idea with McQuarrie’s early castle concepts.
With that decision, the Greenham Common RAF base
location was freed up to become what it was perhaps
always meant to be: Leia’s resistance base.
James Clyne relocated to Pinewood Studios for
a month to help supervise the initial construction
of the Star Destroyer hangar, along with the newly
approved interrogation room and First Order troop
transporter sets. Across the lot in the costume and
creature departments, approved designs for Kira and
her junk boss, Unkar Plutt, were locked in. “I think
that the blobfish concept for Unkar came from J,
daughter,” Ivan Manzella recalls. “We all had a stab at
it, and J ked up on that one.”
4 JUNK DEALER BLOB Manzella
THE ART OF STAR WARS: THE FORCE AWAKENS
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coeetes “The idea was that we wouldn't be able to see who Kira was; we wouldn't know
if she were a man, a woman, an alien, or something else entirely. And I thought it would be
great fun to have her fashion her own goggles out of scavenged stormtrooper lenses.
KIRA’S (REY’S) HOUSE EXTERIOR Neil Ellis
KIRA (REY) FULL LENGTH Dillon
PRE-PRODUCTION / FEBRUARY 2014
44 SKELLIG Dusseault 4 UNDERFALCON “The location needs nothing done to it. It's an amazing place; just putting the Falcon in is enough.” church
THE ART OF AF ARS: THE FO
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THE ART OF STAR WARS: THE FORCE AWAKENS
eR
REDSUITHEAD “I was really pleased the Guavian Death Gang helmet moved on,
somewhere between paramilitary and Boba Fett. My original idea was for them to
have little jackets. But that turned into a boiler suit/jumpsuit hybrid.” pitlon
166 THE ART OF STAR WARS: THE FORCE AWAKENS
4 RESISTANCE TRANSPORT LANDING Clyne vy GREENHAM COMMON Allsopp
PRE-PRODUCTION FEBRUARY 2014
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44 FILTER CYLINDER MODELACROSS Church JEDI KILLER SWORD Lee Oliver
GRENADE HEAD &X HEAD “I really liked the grenade head
one. This was another one of my designs for the Jedi Killer
that never worked out.” Dillon
THE ART OF STAR WARS: THE FORCE AWAKENS
TORTURE ROOM FROMENTRY “The
torture room was a triangle—they liked
the idea of a very simple geometrical
shape. There was also a Hitchcock-
inspired element to the forced perspec-
tive of the torture chamber.” Clyne
JEDIKILLERINWOODS Power
PRE-PRODUCTION
| FEBRUARY 2014
>
MARCH 2014
In a major milestone for the production, Glyn
Dillon's design for the Jedi Killer-—soon to be known as
Kylo Ren—was finally locked and approved on March
u1. March was a big month for several other reasons, 2
well. Big-screen icon Han Solo, as played by the legend-
ary Harrison Ford, got an approved costume update.
In the art department, three new vehicles were
drafted, only one of which would make it into the
final film. Concept art for the castle ruins set was also
first painted by the designers. Lastly, Thom Tener;
castle interior became the prototype for the set,
resistance transport, resistance base, and Starkiller
base sets saw further refinement.
Deadlines for the Jakku exterior |
in Abu Dhabi loomed in the back of everyone's
minds. The production’s quick return to Pinewood to
shoot Star Destroyer interiors, including the hallways,
hangar, and torture room sets; Millennium Falcon
interiors; and Jakku village backlot night shoots were
also of pressing concern.
Darren Gilford recalls, “We decided to build the
outpost in Abu Dhabi at the end of the mangrove
swamp—the only place we could find that had a clear
horizon, where it was desolate, flat as a pancake. J.J.
wanted the lo to bea really unappealing, hor-
rible place for her to exist. Kira’s life is just miserable,
and this miserable place echoes that.”
BAR CREATURE C024 Davies and Fisher
STORMTROOPER CLOAK FRONT RED STRIPE Power
THE ART OF STAR WARS: THE FORCE
44 CATACOMBSFINN Allsopp LANDING & DRILLING “J.J. wanted this very specific machine
to drill into the catacombs when the Empire attacks Maz’s
castle. I wanted to put in elements of the probe droid because
that’s such an exotic, threatening shape.” Chiang
PRE-PRODUCTION / MARCH 2014
f
as
CASTLE INTERIOR PANO WIDE “There was a running joke/wager
that Rick put out there, that whoever cracked this one, everyone’s
got to buy him a drink. I was the last to work on it, so I ended up
winning—but I should point out that there was so much devel-
opment done on this before me that I can't, in good conscience,
take credit for it.” Tenery
“We finally came up with that design around the fire pit. The
spoked headers are always a great way to hide the fact that you
want to be able to light from above, but we didn’t want to give
away the fact that we weren't creating a ceiling.” Gilford
«BATTLE KIRA (REY) WOODS Tenery
«NEW COLOR SCHEME 01,03 & 10 De Martini
THE ART OF STAR WARS: THE FORCE AWAKENS
a
RUIN BATTLE Tenery
gee fo
STARKILLER BASE MOUNTAIN FORTRESS “You don’t want to crowd a
battle scene with 75,000 types of ships. In Return of the Jedi, you
could tell who the good guy and bad guy were: They weren't just a ran-
dom mass of colors and shapes.” Jenkins
TIE FIGHTER RUINED EXTERIOR Ellis
“The crashed TIE fighter was the biggest and hardest set we had to
make in Al Qasr. We had to do almost a 1,000-foot trough of how it
would have come in on the soft landing and dive into the sand.” Gilford
STARKILLER FALCON Allsopp
THE ART OF STAR WARS: THE FORCE AWAKENS
poster “I was thinking, ‘What is it that blew me away when I was a kid?’ And do you know the science j
book cover and film concept artist Chris Foss? He would do this stripe effect of black-and-yellow camoufl ge for
the Dune ships. And when J.J. saw that, he was like ‘Oh, that’s cool.’ None of us could quite believe it, because
it had been such a long process, that he actually thought something was cool [laughs]. It might have been J.J.
that said, ‘Maybe it would be better if it was reflective.’ He liked the yellow, but he wasn’t sure about it being on
there all the time.” Dillon
ELEVATION (CHROME DETAIL) Dillon
ry
PRE-PRODUCTION
FLAMES CLOSE-UP Dillon
KYLO’S CHAMBER Jenkins
MARCH 2014
cockpit sackeT “We designed quite a few costumes, but again,
Han Solo only ended up wearing the short brown jacket. But he
had a duster coat, and for a while J.J. and Michael Kaplan wanted
the original vest.” Dillon
RESISTANCE BASE INTERIOR 02 Wallin
THE ART OF STAR WARS: THE FORCE AWAKENS
GREENHAM COMMON Allsopp
RESISTANCE BASE INTERIOR 01 Wallin
4 RESISTANCE TRANSPORT “This design was supposed to repurpose the First Order landing ship—turn it into a rebel
ship. And I've always loved big outboard engines, because to me, they capture the essence of Star Wars.” Chiang
4 TRANSPORTIDEA Jenkins >» FULLLENGTH Dillon
4 ROCKERS GROUP SHOT Kusowska >» RALLY SITE TROOPS VIEW Jenkins
PRE-PRODUCTION / MARCH 2014 177
ae
pm
a
a
SPEEDER Jenkins y SPEEDER Dusseault
SNOWSPEEDER SKETCH 03 Clyne
THE ART OF STAR WARS: THE FORCE AWAKENS
WARHAMMER BLOCKOUT 02, 03 &05 “The resistance War-
hammer was crazy. Imagine this huge ship that has this
really strong front that could actually penetrate a shield and
then deploy ships through it.” De Martini
WARHAMMER ATTACK Chiang
SNOWSPEEDER SKETCH 05 Clyne
“At first, we were going for things that were a little bit too
slick and a little bit too sci-fi for J.J. And again, he described
this vehicle like a stormtrooper utility maintenance vehicle
[laughs]. Everybody was trying to tackle it, and nobody
quite got there.” Gilford
“Then J.J. said, ‘Well, what if we flip the snowspeeder?’ We
rotated it 180 degrees, and the windows become headrests.
It was a true ‘What if...’ moment.” clyne
44 VILLAGE X-WING SET EXTENSION Allsopp and Haley Easton-Street FIRE SEQUENCE “An exposure treatment is a much more realistic effect for th
scene. Being in an atmosphere adds a lot, and it’s all to our favor.” Dusseault
PRE-PRODUCTION / MARCH 2014
APRIL 2014
To take the helm, director J.J. Abrams moved
from Paris to Pinewood Studios on April 4, where he
would remain for the duration of the shoot. As the resi-
dent expert on Imperial design, concept artist James
Clyne also relocated to Pinewood in early April to
work with art director Kevin Jenkins on Starkiller base
designs as they related to the script’s Act III story beats.
Jenkins says, “I spent a lot of time with James
Clyne going through a lot of Brutalist architecture.
Brutalism influenced Norman Reynolds, John Barry,
and the original Star Wars design team for the Empire.”
The creature and costume departments com-
bined forces to fill out Maz Kanata’s castle with aliens,
beasts, and humanoid denizens. Ivan Manzella’s
Wollivan character, as played by long-running Star
Wars actor Warwick Davis, ended up at the castle's
ball-droid fighting table, in one of the last sequences
shot for the film.
Meanwhile, the remaining Pinewood crew
scrambled to prep for the start of principal photogra-
phy in Abu Dhabi on June 16. “I was going back and *AVCO + = INTPIRATES COVE + _=PLAN&SECTIONS+ _+ SCALE I [/4"+ PLAN: eSHET No Loe3+ + DING No975 As
forth a bit, but I think I arrived in Abu Dhabi maybe TanmcmenscooS ~ — = as a oa
two or three weeks before photography,” Darren Gil- 7 > ©: Ord 4 € >
ford recalls. “It all came together, but it was massive
4 RESISTANCE BASE, SET Photograph by David James
amounts of dressing, massive amounts of construc-
tion, huge logistical planning—the set was huge.”
>» RESISTANCE BASE PLANS & ELEVATIONS Katrina Mackay
“On Pinewood’s E Stage, there’s a projection hallway that was
used for rear projection techniques probably back in the forties —_|
or fifties. When you're looking out from the rebel base map
room into the darkness and those lights fading off into noth-
ing, the physical lights are getting smaller and lower, so it Samed
gives you a forced perspective linear angle. It creates an incred- | E STAGE aes | ae
ible amount of depth. That was J.J.’s dream: to really try the
old-school techniques.” Gilford
182 THE ART OF STAR WARS: THE FORCE AWAKENS
a
SAND VEHICLE Tenery
RESISTANCE DROID Ho01 “In Empire, the
a bounty hunter lineup and one of them is
named Zuckuss, who has a head like a}
there’s 4-LOM, who's a protocol droid with
Zuckuss’s head. I thought: There it is—an
example of a protocol droid that doesn't nec-
essarily have a human head.’” pavies
WOLLIVAN Manzella
WOLLIVAN Davies
PRE-PRODUCTION /
APRIL 2014
THE ART OF STAR WARS: THE FORCE AWAKENS
RUIN SET PAINTOVERS “It seems like all of these Star Wars movies
are going to have so many contemporary flavors and concepts that
arose in a post-9/11 world. In some ways, this ruins set feels like it's
more and more out of that sensibility.” Tenery
MAZ’S CASTLE PLANS & ELEVATIONS Sam Leake
MAZ’S CASTLE, SET Photograph by David James
THE ART OF STAR WARS: THE FORCE AWAKENS
» POEFLIGHTSUIT Dillon
PRODUCTION / MAY
JAKKU SACRED VILLAGE, SET Photograph by David James
nce we got to the backlot and started sculpting the huts, we had to create
our own sand berms and dunes to help create a horseshoe around the village.
It was one of the first sets we did, and I was a little nervous about it. But
once we got out there at night, lit ‘em up, and saw the environment, it worked
really, really well.” Gilford
D STAGE
BUILD ONLY
SS Sia
SSS
BLUE SCREEN WITH ACTORS
PLATFOIM BEHIND (280° HGH
CAM 40MM
<« SQUADLEADER Dillon
CONFERENCE ROOMWIDE “This reflects a little bit of the Lincoln Memorial.
Supreme Leader Snoke was going to have this ambient occlusion, shaded gray.
So he would be a solid mass, but at the end we would realize Snoke was just a
hologram all along.” clyne
PRODUCTION /
198
THE ART OF STAR WARS: THE FORCE AWAKENS
4 MAZ’S CASTLE ALIENS C056 Davies
a
4 €C075NOHAT Davies
MAZ’S CASTLE DROID ORIGINAL “I envisaged this character
as a bounty hunter—type. In adding the costume, Jake Lunt
Davies turned it into a female droid! It ended up becoming
quite sexy. [Laughs.]” Fisher
GRUMMGAR AND BAZINE NETAL Photograph by David James
PRODUCTION / MAY 2014
4 REPUBLIC CITY 02 Allsopp
« REPUBLIC CITY 03 Allsopp
THE ART OF STAR WARS: THE FORCE AWAKENS
ayn =/ ate _ Nee
ro
eye fet iene
SPEEDER DEVELOPMENT Clyneand Tenery
“JJ. really liked the silhouette that James blocked out, but he suggested we try reversing
it. And so I flipped that design, made the front the back and vice versa.” Tenery
TAPERED HULL 04 ClyneandTenery
“The snowspeeder started to feel like a swamp buggy, or a bayou swamp-boat.
It almost has a skiff nature to it, sliding over the snow, which I liked very much.” Gilford
‘TOP CORNER
OF HEADREST
BLOWN OFF
‘SCORCH MARKS ON
BODYWORK (PAINTED ON)
‘THESE PARTS OF FINS
‘TO BE BLOWN OFF
4 DAMAGE AREA Stuart Rose
PRODUCTION / MAY 2014 201
JUNE 2014
Buoyed by the success of the Abu Dhabi loca-
tion shoot, the filming crew returned to Pinewood in
high spirits. Shooting resumed on the Star Destroyer
sets starting May 30, transitioning to the Millennium
Falcon interior sets during the day and the Jakku village
backlot set at night on June 3. Then, the unthinkable
occurred. On June 1, Harrison Ford was injured on
the Falcon set only days after starting The Force Awakens.
“Harrison's accident was horrible on every level,” Dar-
ren Gilford recalls. “It complicated things a lot, too.
There was a lot of redesign and improvised logistical
planning, very quickly.”
Photography resumed at the Falcon sets on June 13,
shifting to the resistance base on E Stage and the reset
backlot ruins set the following week. But without Ford,
those sets, as well as Han’s under-construction cargo
hauler and Maz’s castle set, would have to hold until
his recovery and return. The Starkiller base and Maz’s
castle exterior continued to dominate the concept
artists’ work in June, as design started at ILM on purely
digital shots, such as the resistance X-wings skimming
the water and the Starkiller base starfighter battle.
4 mazconcept “When they ran out of time to create a puppet,
Luke Fisher, Jake Lunt Davies, me, and Dermot Power were
called in to create some designs for Maz. They wanted her to
have more of a fortuneteller vibe. That's where the bangles and 2 os
big giant sequins come from.” bDillon . “ 4 LUKE SKYWALKER Dillon
202 THE ART OF STAR WARS: THE FORCE AWAKENS
STARKILLER PLANET “You put an atmosphere on the Starkiller, and it nearly takes away all the things that make the
planet even look believable. And so I tried this idea of breaking through the surface with the gun.” Jenkins
44 X-WING APPROACH “J.J, wanted this super-vertical rooster tail of water, which was fun to create.” Clyne 4 X-WING ON WATER Jenkins
THE ART OF STAR WARS: THE FORCE AWAKENS
OLD TROOPER BARELY Dillon
co240RIGINAL “When we started off, it really was
just a big pool of characters. Co24 (Sidon Ithano) was
from that pool. Colin Jackman ended up sculpting his
helmet and did a lovely job.” Fisher
OVERLAY C079 Davies
a
=
=
=,
=
=
=
=
=
4 MAIN CORRIDOR LAYOUT 06 “We introduced a lot of verticality to the base hallways, which cues off of the Death Star. I think it was twenty-seven to
thirty feet to the perms, the ceiling of the actual set, and they just let it go to black. J.J. tried to push, in-camera, as much as possible.” Clyne
PILLS Dusseault
\
wn mt
4 FIRST ORDER STAR DESTROYER HALLWAY Photograph by John Wilson
4 MAIN CORRIDOR LAYOUT 05 Clyne
THE ART OF STAR WARS: THE FORCE AWAKENS
4 CONTROL ACCESS POINT CONSOLE REVISED Mark Harris
“When Mark Harris, one of our local art directors in London, was sixteen or seventeen, he was
working directly with art director and set decorator Harry Lange on The Empire Strikes
Back and literally was doing the tape application with Harry, knew his process and knew his
background. So I immediately said, ‘All the graphic applications on physical sets are going
through Mark.” Gilford
>» KIRA(REY) FINALE “I didn’t know Rey was going to have a second outfit until about a week
before it had to be made [laughs]. I wanted the outfit to look Han Solo-inspired.” bitlon
y STRUCTURE ONFIRE Tenery
>> HALLWAY Dusseault
PRODUCTION / JUNE 2014 207
JULY 2014
The main unit continued to shoot whatever
cargo hauler and Maz’s castle scenes they could
without injured lead actor Harrison Ford, including
moving up two location shoots originally sched-
uled for mid-September to July. Designs for the
Star Destroyer exterior, to be digitally modeled by
ILM, and Luke Skywalker’s costume were approved,
while progress crawled forward on the resistance
troop transporter vehicle. Digital characters
Supreme Leader Snoke and the rathtar monster that
gs in Han Solo’s freighter were also
d but not yet approved.
RETURN Clyne
THE ART OF STAR WARS: THE FO AWAKENS
44 STAR DESTROYER VIEWS
on the Star Dest
er because J.J. was heavily involved in the art direction. He
threw out all these ideas: ‘What if we have negative spaces? What if the top tower was asymmetrical?” Clyne
44 HYPERSPACE Clyne 4 HATCH DEVELOPMENT Tenery 4 DESCENT PILLAR DETAIL Jenkins
PRODUCTIO JULY 2014
4 SNoKEo1 “Snoke almost became a female at one point. J.J. picked out a
maquette he liked and then we took it to a full-size version, sculpted in
plasteline. J.J. and Neal didn’t want him to be old and decrepit, like the
Emperor.” Manzella
« RATHTARPINK Davies
4 KNIGHTS DESIGNS 01, 02 & 03 Dillon 4 MODBOSS MAN Dillon
212 THE ART OF STAR WARS: THE FORCE AWAKENS
4 LUKE SKYWALKER Dillon
>» Hamitt “Michael Kaplan didn’t want Luke to still be in the same Jedi
robes he wore fifteen years before. So the clothes had to be robe-like to
feel authentic, but updated.” pilton
PRODUCTION /
JULY 2014
farImeat Ate
44 GUNEMPLACEMENT 02 “I can just see so much of World War II in many aspects of Star Wars, Empire, and Jedi. I'm a big World War II nut, GUN EMPLACEMENT 01 Jenkins
so I threw in references to it as much as I could. This is basically a German battleship gun turret stuck on a Star Wars pedestal.” Jenkins
THE ART OF STAR WARS: THE FORCE AWAKENS
4
“ i z
é
4 my
A *
A
:
44 RESISTANCE TRANSPORT FORM DEVELOPMENT Tenery
4 TROOP CARRIER O3 “When we were getting stuck on the rebel troop transport,
Thad lots of fun creating the most retro-heavy Y-wing I could.” Jenkins
>» X-WING HELMET OVERLAY Davies
PRODUCTION / JULY 2014
4 REPUBLICCITY Clyne
>» REPUBLICCITY SENATE Dusseault
MAZ BARELY Dillon
WEAPON FIRE “This is a series
depicting how this gun fires.
Everything frozen around the
gun turns into water. It knocks
down trees. It’s a massive plan-
etary scale event.” Dusseault
THE ART OF STAR WARS: THE FORCE AWAKENS
ees]
er WPA
Pty
44 PLANET DESTRUCTION Clyne FLEET DESTRUCTION Clyne
4 OSCILLATOR ENTRANCE APPROACH Jenkins y ENTRANCE FROM ABOVE Jenkins
THE ART OF STAR S: THE FORCE AWAKENS
4 LOOKING DOWN Jenkins
> SPOTLIGHT “These images are a
huge metaphoric exploration about
the light and the dark side of the
Force, which I had long discussions
with Rick about. The wide shot of the
light glimmer just hitting the two of
them—that’s the Force essentially
making its decision.” Jenkins
PRODUCTION / JULY 2014
uth = ia is bah
| s h cl a | Pac . 7 a: 4
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AUGUST 2014
The entire The Force Awakens production
went on a two-week hiatus in August to give Harrison
Ford time to heal. “We were able to recover and get
back up to speed, making the back end of the shoot so
much easier in so many ways,” Darren Gilford recalls.
After twenty months, the Lucasfilm-based
Visualist art department turned in final pieces on
August 27. James Clyne and Yanick Dusseault moved
on to look development for ILM’s Roger Guyett—led
digital effects team. Doug Chiang transitioned into
co-production designing Gareth Edwards's Star Wars
Anthology: Rogue One, alongside The Force Awakens
supervising art director Neil Lamont. Ryan Church,
Christian Alzmann, and Erik Tiemens also returned
for Rogue One.
Back in Pinewood, shooting resumed without
Ford on August 26 with the interior Star Destroyer
bridge, followed by the film’s climactic lightsaber duel
on Q Stage, where a snowy forest had been brilliantly
realized by the Pinewood crew.
QSTAGE SCENIC PAINTING Matt Walker
“We had an incredible scenic painter, Matt Walker. He did the 360-degree background on Q Stage, two football fields of
scenic forest, a crazy amount of linear footage. Literally, he’s on a scissor lift, up fifty feet, bucket of paint, going down
the backing with a roller, getting the trunks of the trees. His eye. . . to be able to paint like that, that loosely, and know
Y REY’S HOUSE Clyne what it looks like across the stage from a hundred feet away and to know it looks photo-real? It’s a lost talent.” Gilford
THE ART OF STAR WARS: THE FORCE AWAKENS
4 RIDE Dusseault
4 KYLO REN SHIP LIGHTING DESIGN David Fogler 4 KNIGHT 23 Dillonand Pope 4 KNIGHT 13 Dillon
PRODUCTION / AUGUST 2014
4 STARKILLER HOLDING CELL PANEL, DETAIL
Photograph by Jules Heath
4 STARKILLERLANDO5 Andrew Booth and BLINDLTD. Y RESISTANCE BASE HERO ATTACK Boothand BLIND LTD.
4 TIEMONITORINSERT Booth and BLINDLTD.
“J.J. really wanted to go back to the simplicity of the graphics that were established in Star
Wars, without being dated. This was largely J.J.’s response to modern motion graphics that
create overly complex layers of content. It was incredibly difficult determining what we felt
was the right level of homage to the original three films versus the level of updated visuals.
Andrew Booth and BLIND LTD. did a really nice job walking that line.” Gilford Booth and BLIND LTD.
> STARKILLER PORT
THE ART OF STAR WARS: THE FORCE AV
4 TROOPCARRIER12 “Basically, I took a picture of a Chinook, a troop trans-
port helicopter, and turned it on its side. Where the two helicopter engine bits
go, I replaced one with a cockpit and the other with a gun. The troops come
out of the middle.” Jenkins
PEE
4 INSIDE TROOP CARRIER BUILD Jenkins 4 TROOP CARRIER 13 Jenkins
PRODUCTION / AUGUST 2014
SEPTEMBER 2014
Principal photography on The Force Awakens
continued on the Pinewood Studios lot with a healed
and reinvigorated Harrison Ford rejoining the
production on September 15. ILM look-development,
the visual effects equivalent of early concept devel-
opment for CG models and shots, also continued in
September, with Yanick Dusseault and James Clyne
tackling the starship graveyard chase and Falcon crash
sequences, respectively.
Meanwhile, in the Pinewood art department,
Starkiller base set and shot designs remained the
primary focus. In the creature and costume shops, the
designers and builders began wrapping up the few
remaining characters left to be shot in the doomed
Republic City scenes, the “Force-back” flashback
sequence, and Ford’s return to Maz’s castle.
4
GRAVEYARD SET PIECES CHRIS Bonu
>» GRAVEYARD SET PIECES 01 &02 Bonura
GRAVEYARD SET PIECES aRis Bou.
226 THE ART OF STAR WARS: THE FORCE AWAKENS
SNOKE02 “J.J. wanted to base Snoke on the Hammer Films horror movies, giving
the design a ghoulish look. We made a bust out of marble powder, because we talked
about him being very pale. And I imagined him to be a beautiful marble sculpture,
so dark and menacing, but actually quite beautiful to look at.” Manzella
SNOKE 06 “It’s almost like Snoke was quite handsome when he was younger. And in
my mind, the more powerful he’s become, the more the Dark Side consumes him. We
made his eyes really pale, pale blue so the whites of his eyes are almost the same color
as his skin and costume. Piercing.” Manzella
44 RALLY SITE MASTERLAYOUT Clyne 4 RALLY SITE WIDE Clyne
228 THE ART OF STAR WARS: THE FORCE AWAKENS
« pottoeraits “I do think you have to be careful in the Star Wars universe to not
be too fancy with designs, to keep it kind of brutal and simple. The oscillator is
literally a big mushroom bolt shape.” clyne
OSCILLATOR PAINT LIGHT “We wanted to create a ‘blood on your hands’ kind of
mood on this oscillator set. So the blue is Imperial navy, very much reminiscent of
The Empire Strikes Back. And I pumped the blood red everywhere to create that
contrasting mood.” Jenkins
PRODUCTION / SEPTEMBER 2014
44 GRAVEYARD 3.1 Dusseault « cHaset.6 “All of the elements we put out into a shot have to maintain a certain relationship. There will be fore-
ground pieces that fly by, small-detail complex layers, etc. It’s about layering things.” Dusseault
THE ART OF STAR WARS: THE FORCE AWAKENS
4 SNOW CRASH(O1 Clyne
>» SNOW CRASH 03 Clyne
PRODUCTION / SEPTEMBER
a
OCTOBER 2014
On October 3, original Star Wars trilogy pro-
ducer Robert Watts and production designer Norman
Reynolds visited the set of The Force Awakens at Pine-
wood. “As a kid, Norman Reynolds was the first name
lever associated with production design: Raiders of
the Lost Ark, Star Wars, Empire, Jedi,” Darren Gilford
recalls. “His work was such a ground zero and a point
of departure for so many elements of our film. I had a
whole day with him to walk him around everything.
He was such a gentleman, and I think he had a won-
derful time.”
The final designs for The Force Awakens's two
primary digital characters, Maz Kanata and Supreme
Leader Snoke, were confirmed in October as well. The
Maz maquette received a finishing paint, costume, and
accessory pass. The shadowy Snoke shifted in a more
youthful direction before garnering director approval,
moving even further away from the previous six Star
Wars films’ “big baddie” Emperor Palpatine.
TAKODANAPLANET “Because planets can be pretty simple,
like trying to give a little bit of character without getting
too fantastical. There’s a single river that goes around the
equator—I like that.” Dusseault
CASTLE Dusseault
THE ART OF STAR WARS: THE FORCE AWAKENS
CASTLE Dusseault
Normally on a film this size, there is a pros-
thetic character-painting department with upward
of twenty artists. But for The Force Awakens, creature
department creative supervisor Neal Scanlan entrusted
paint finish designer Henrik Svensson (Prometheus,
Guardians of the Galaxy) with the task of single-handedly
painting more than eighty aliens and droids in his ten
months on the project. He only left five unfinished due
to time constraints.
hen it comes to Maz, BB-8—all these charac-
ters that I thought might be tricky—I thought, ‘Oh
God, this is going to be such a challenge,” Svensson
recalls. “I would show the designs to J.J. and was met,
almost instantly, with support. I've never worked on a
project where I've gotten such good support and feed-
back from everyone, from the director downward.”
“Lupita Nyong’o, the actress playing Maz, came into the
workshop to have a look at the head sculpt, which was a
lovely treat. She got very close to it; she was quite tactile
with it. It reminded her of her grandmother, strangely. I
thought it was really nice that she had a connection with
the sculpt.” Fisher
MAZ SCULPT BY FISHER; PAINT FINISH BY HENRIK
SVENSSON Photograph by Jules Heath
“)J.’s brief, from reading the script, described Maz Kanata
with these goggles. I was thinking, you see elderly people
wearing glasses, and even for a long while after they take
the glasses away, you see imprints on the bridge of the
nose.” Fisher
TT We LULL
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> LEIA& KIRA (REY) MOMENT Fix
INDEX
Abu Dhabi 89, 114, 170, 182, 191, 192,
202, 245
Abrams, J.J. 11, 12, 15, 16, 19, 20, 28,
50, 54, 66, 81, 84, 86, 87, 89, 90,
110, 114, 124, 136, 146, 149, 155, 157,
160, 170, 171, 175, 176, 180, 182,
188, 189, 200, 204, 206, 210, 212,
224, 233, 237
Al Qasr 174, 192
Allsopp, Matt 10, 114, 118-119, 126,
138, 146, 147, 151, 158, 161, 163, 164,
166, 167, 171, 174, 176, 181, 187, 189,
194,200
Alzmann, Christian 20, 22, 24, 27, 30,
32, 33, 36-37, 38, 40, 43, 48, 49, 50,
51, 54, 60, 62, 63, 68, 70, 72,79,
84, 105, 110, 111, 112, 124, 222
American Graffiti 16
Anakin Skywalker 103
Arndt, Michael 15, 19, 20, 23, 28, 40,
54,102,124
art department (US) (see also Visual-
ists) 16, 19, 28, 40, 78, 243
art department (UK) 89, 226. 243
Art of The Empire Strikes Back, The 150
Artoo-Detoo (see also R2-D2) 156
AT-AT 128-129, 137
Avatar 19, 20, 28
BB-8 astromech droid 150, 233
BB-8 face design 156
Babe 66
Bad Robot Productions 19, 28, 54,
114, 146, 150, 159, 244
barfly 185, 216
ball-droid fighting table 182
ball droid sketch 10
bandits 24
bar 36-37, 144, 148, 149, 170, 185
Barry, John 16, 182
bazaar sketches 52
beast handler 185
Bergman, Alan 20
Bespin light patterns 237
big beast elephant 157
Big Scout 105
black ops fighter 132
Blade Runner 66
BLIND LTD. 224
Blob & Millennium Falcon 24
Boba Fett 166, 189
Bolt attack 238-239
Bolt details 228
bomb plant pipe 246
Bonura, Chris 119, 226
Booth, Andrew 223
bounty hunter sand man Co10 134
Boyega, John 89
Brutalist architecture 92, 182
Brutalist building study 55
bullet hole dev 240
bullhead rebel pilot Co30 166
bunker 76, 152-153
Burk, Bryan 194
Buzkashi Boys 40, 52
C3PO 63
CGl effects 188
Co24 original (see also Sidon Ithano)
205
C078 165
Campbell, Joseph 12, 15
Carrasco, Luis 66
Carter, Rick 15, 16, 19, 20, 28, 40, 45,
54, 66, 78, 84, 89, 112, 114, 137,
146, 150, 159, 172, 191, 219, 243,
246,240
Casablanca 108
castle 124, 125, 140, 157, 163, 164, 165,
170, 172-173, 232
Chewbacca 150
Chiang, Doug 16, 19, 20, 22, 28, 32,
33; 34, 45, 50, 53, 58, 59, 62, 66, 76,
77,78, 79, 85, 90, 93, 96, 98, 104,
105-107, 112, 115, 117, 120, 126, 137,
156, 171, 177, 180, 222
Childs, Peter, 237
Chinatown 15
Christian, Roger 124
Christmas Carol, A 19
Church, Ryan 6-7, 16, 18, 28, 36, 39,
40, 41, 45, 46-47, 49, 53, 55, 56-57,
58, 61, 66, 70, 73, 78, 81, 84, 86,
87, 91, 97, 99, 104, 112, 114, 117, 18,
125, 127, 130, 132, 139, 141, 144, 150,
156, 159, 162, 164, 168, 222
Cinefantastique 16
Clone Wars, The 15
Clyne, James 2-3, 20, 26, 42, 51, 52, 59,
66, 67, 82-83, 85, 87, 90, 93, 99,
100, 105, 113, 114, 117, 125, 127, 130,
133, 135, 137, 141, 142, 144, 148, 154,
160, 167, 169, 180, 182, 186, 192,
197, 201, 204, 206, 210, 211, 216,
217, 222, 225, 226, 229, 231, 237.
238-230, 240, 244, 246, 247
cockpit jacket 176
collects and sells items Co12 123
column detail 192
command post 234
costume department 114
courtyard dev 163
crash recon 60
crash site angle 2 (detail) 8,132
THE ART OF STAR WARS: THE FORCE AWAKENS
crawl space interior 166
creature department 233
crewman profile 154
Crime City 70, 84
Crime Planet 84
Dagobah
damage area 201
Dantooine 55
Darth Talon 27
Darth Vader 11, 34, 40, 79, 102, 120,
124,131
Davies, Jake 89, 123, 134, 146, 155, 157,
166, 170, 183, 185, 189, 202, 205,
212, 215
Davis, Warwick 182, 185
De Martini, Fausto 114, 132, 143, 150,
159, 172, 180
Death Star 53, 54, 58, 62, 188, 206, 243
debris field 236
depot 116, 146
descent pillar detail 211
desert 1, 49, 53, 62, 78
destroyer interior 245
Dillon, Glyn 13, 89, 120, 121, 125, 131,
133, 134, 136, 139, 142, 143, 151, 154,
161, 166, 168, 170, 175, 176, 185,
189, 195, 197, 202, 205, 207, 212,
213, 216, 223
dock vehicle 2 scaffold 147
Doom Star 87, 99
Dorme, Peter 237
Driver, Adam photograph 187
droid assembly 11
droid cock-fight sketch 101
droid face m1
droid repair area view 111
droid treads 11
Drue, Ryan 76
Dune 15
Dusseault, Yanick 20, 24, 55, 60, 63,
74-751 77:79, 91, 92, 97, 99,102,
108-109, 116, 119, 124, 125, 135, 141,
147, 149, 162, 181, 186, 188, 190-191,
192, 206, 208-209, 216, 222, 223,
226, 230, 232, 234, 236, 240, 242-
243, 244, 245, 248-249
Easton-Street, Haley 181, 197
Edwards, Gareth 222, 243
Eisley, Mos 151
Eleman 185
Ellis, Neil 161, 174,195
Emperor Palpatine 232
Empire Strikes Back, The (see also: Star
Wars: Episode V The Empire Strikes
Back) 124, 183, 207, 229, 232
Episode IV (see also Star Wars: Epi-
sode IV A New Hope) 12.4, 237
Episode VII (also see Star Wars: The
Force Awakens, The Force Awakens)
19, 20, 22, 28, 50, 54, 66, 84, 102,
124,144, 146
Exotic City 49, 78, 102, 108,109, 124,
144
4-LOM 183
Falcon 6-7, 10, 37, 59, 66, 98, 105-107,
114, 158, 162
Felucia 20-21, 24
Fields, Landis 30, 32
Fight Club 66
fighter special forces interior 18 143
fighter special ops 132
Filoni, Dave 20
filter cylinder model across 168
Finn droid (see also Sam) 89, 245
fire & ice concept 26
fire sequence 181
First Order 160, 177, 188, 195, 206
Fisher, Luke 89, 120, 121, 122, 131, 140,
170, 185, 198, 202, 205, 233
Fix, Colin 69, 71, 250-251
Flora, Brian 37
Fogler, David 223
Force, the 11, 16, 19, 22, 28, 66, 249
Force Awakens, The (see also Episode
VII, Star Wars: The Force Awakens)
222, 226, 232, 233, 243
Ford, Harrison 170, 191, 202, 210,
226
Forrest Gump 19
Fry, Linda 158
Galactic Empire 15
Gilford, Darren 16, 78, 88, 89, 100,
112, 114, 136, 146, 156, 158, 170, 172,
174, 180, 182, 188, 191, 192, 197,
200, 202, 207, 222, 232, 237,249
Godzilla (2014) 114, 243
goggles 161
Good Yoda 45
graveyard 115, 226, 230, 236, 248-249
great hall interior 197
Greenham Common RAF base (see
also Royal Air Force station) 160,
167,176
Grummgar and Bazine Netal (pho-
tograph) 199
Guardians of the Galaxy 233
Guavian Death Gang 143, 166
gun bridge fight 102
gun replacement 214
Guyett, Roger 20, 66, 222, 244
Hamill, Mark 102, 213
Han Solo 15, 20, 24, 66, 70, 150, 170,
176, 202, 210, 237, 244
hangar 114, 117, 135,170
Harris, Mark 207
Hart, Kiri 19, 20, 22, 28
hatch development 211
Hayes, Paul 191
Heath, Jules 187, 188, 224, 233, 234
elmet 121, 133
Herbert, Frank 15
Higgins 99,100
holding cell rough layout 186
Hothisi
hut 127, 130, 142
hyperspace 211
Ice planet 92, 99, 186
infirmary 158
ILM (see also Industrial Light &
Magic) 19, 20, 28, 40, 66, 124, 150,
202, 210, 222, 244, 226
Imperial rally 55
Imperial boarding craft exterior
wide 97
Imperial Star Destroyer 25
Industrial Light & Magic (see also ILM)
Ivan the Terrible 36
|-wing variant 133
jakku 25, 89, 90, 124, 170, 197, 202,
241,244
james, David 182, 184, 197, 199, 234
jedi Killer (see also Kylo Ren) 22, 72,
79, 105, 120, 12.4, 127, 131, 136, 143,
150, 154, 159, 168, 169, 170
jedi Knight 15
lenkins, Kevin 150, 160, 174, 175, 178-
179, 182, 193, 194, 196, 203, 204,
211, 213, 218, 219, 220-221, 225,
229, 237, 243
jim Henson's Creature Shop 66
john Doe (Poe) (see also Poe) 69, 71,
90, 10
johnston, Joe 16, 40
jungle 94-95
junk boss full body 189
junk barge 28
junk dealer blob 160
junk castle landscape 29, 52
junk planet 25, 30, 32, 40, 102
junk walker dwelling 32, 66
Jurassic Park 19
Kaplan, Michael 66, 89, 136, 139,
176, 213
Karloff, Boris 154
Kasdan, Lawrence 15, 124,146
Kaufman, Kurt 20, 24, 38
Kennedy, Kathleen 11, 15, 19, 28, 33,
40,146, 249
Kinberg, Simon 28, 124
Kira (Rey) 14, 17, 19, 23, 28, 29, 30,
31, 32, 38, 49, 54, 58, 60, 63, 66,
71, 78, 80, 85, 91, 97, 117, 119, 124,
136, 137, 150, 155, 160, 161, 170,
172, 192, 207, 222, 242-243, 245,
250-251
Knoll, John 20, 28, 66
Kurosawa, Akira 22
Kusowska, Magda 89, 123, 134,177
Kylo Ren (see also Jedi Killer, Adam
Driver) 170, 175, 187, 223
Lamont, Neil 222
Lange, Harry 207
Le Guin, Ursula K. 44
Leake, Sam 184
Leone Sergio 24, 52
Letaw, Nicole 19
Libreri, Kim 20
Lindberg, Karl 23
Lincoln 20, 150
little beast biomech 146
Little Miss Sunshine 19
loading bay control 100
Longfish, Dela 68, 71
Lord of the Rings trilogy 15
Lucas, George 11, 12, 15,16, 19, 20,120
Lucasfilm Ltd. 15, 19, 89,124,146, 222
Luke Skywalker 15, 19, 22, 33, 40, 44,
102, 103, 155, 202, 210, 213
Mackay, Katrina 182
Manzella, Ivan 140, 149, 157, 160, 165,
182, 183, 212, 227
Maz barfly 216
Maz chamber concept 74-75
Maz concept 84, 202
Maz Kanata 78, 84, 90, 182, 232, 233
Maz sculpt by Fisher; paint finish by
Henrik Svensson 233
Maz’s castle 122, 149, 160, 182, 184,
191, 198, 202, 210, 226
Maz’s saloon 102, 144.
McCaig, Iain 19, 20, 22, 23, 24, 27, 28,
29, 30, 32, 33, 34, 35, 38, 41, 42, 44,
48, 49, 50, 60, 69, 82-83, 84, 91,
101, 103, 114
McGatlin, Jason 20, 28
McQuarrie, Ralph 12, 16, 22, 28, 40,
45, 102, 108, 124, 136, 149, 154,
160, 189
Millennium Falcon 4-5, 24, 44,54, 59,
66, 89, 90, 139, 150, 151, 158, 162,
170, 191, 202, 226
Mission: Impossible II] 19
mod boss man 212
mod droid 151
Moher bunker 76, 77
Monsters 243
Mueller, Timothy 240, 241
Mummy, The 154
Muren, Dennis 20, 40, 66
Nakabayashi, David 19
Neo AT-AT 104
Neo-Empire 90
Neo-Imperialists 66
no hat 198
Northcutt, Brett 34, 35, 54
Nyong’o, Lupita 233
007 stage (see also Pinewood) 187
Obi-Wan Kenobi 1, 15, 102, 237
Oblivion 89, 114
Oliver, Lee 168
oscillator 187, 193, 218, 219, 220-221,
229, 237
Palmer, Andrew 155
Pinewood Studios (see also 007 Stage,
Q Stage Scenic Paining) 89,144,
150, 160, 170, 182, 187, 188, 191,
192, 200, 202, 222, 226, 232, 243
pirate ship 51
Poe (see also John Doe) 150, 195
Polar Express, The 19
Pope, Kimberly 122, 134, 140, 223
Power, Dermot 151, 169, 170, 185, 202
Princess Leia 15, 20, 23, 62, 76, 78, 90,
124, 125, 160, 249-250
production design 16, 19, 160, 191
Prometheus 66, 233
Pyle, Howard 22
Q Stage Scenic Paining (see also
Pinewood Studios) 222
R2-D2 (see also Artoo-Detoo) 63
Raiders of the Lost Ark 124, 232
rally site 178-179, 228
Ralph Yoda sketches 48
Rashomon 22
Rathtar pink 212
rebel ground crew 166
rebel hangar wide 86
red pipe detail 246
Red Star Destroyer exterior 81
red structure small containers 150
red suit head 166
Republic City 200, 216, 226
Republic planet 138
resistance base 122, 125, 176, 182, 191,
224
resistance droid 183
resistance transport 167, 177, 215
resistance uniforms group 123
Return of the Jedi 124, 174, 232
Reynolds, Norman 182, 232
Rezard, Martin 115
Richard Attenborough (R.A.) Stage
(see also Pinewood Studios) 191
Right Stuff, The 144
Roberts, Rayne 20
RoboCop (2014) 114
rockers group shot 177
rolling droid version sketch 10
Rose, Stuart 201
roulette sketch 101
Royal Air Force station (see also
Greenham Common RAF base)
144
ruin battle 173
ruin set paintovers 184
running for the hangar bay 68
saber reveal 125
saber studies 18
saber totem 45
Sam (Finn) droid (see also Finn) 24,
49, 69
sand people head 115
sand vehicle 183
Sarco Plank 115
Scanlan, Neal 66, 89, 212, 233
Scarlet, Tyrler 49
scavenger 185
scissor wing 118
scrapyard droid 122
Seven Light 143
shaman 62, 69
Sidon Ithano (see also Co24) 205
Sinkhole planet
Sith lords 36
Skellig Islands 160, 162, 191
Skywalker Ranch archives 12, 40
smoke shadow 192
Snoke (see also Supreme Leader
Snoke)
snow base wide 87
snow battle 46-47
snow crash 231
snow fight 41
snow planet throne room 79
snowspeeder sketch 180
Souk interior 61
space pirate 37
spacesuit woman 185
speeder 180, 201
Spielberg, Steven 15, 189
squad leader 197
Star Destroyer 29, 62, 67, 73, 78, 81,
85, 89, 90, 114, 117, 120, 121, 130,
156, 160, 170, 191, 202, 210, 222
Star Trek Into Darkness 19, 28, 66, 130
Star Wars Anthology: Rogue One 222,
243
Star Wars characters sketches 49
Star Wars cultural influences 15
Star Wars socio-political impact 15
Star Wars: Episode I The Phantom
Menace 120
Star Wars: Episode Il Attack of the
Clones 19
Star Wars: Episode III Revenge of the
Sithis
Star Wars: Episode IV A New Hope (see
also Episode IV, Star Wars) 11, 16, 22,
50, 54, 124, 182, 188, 213, 226, 237
Star Wars Rebels 20, 12.4, 151
Star Wars: Episode VI Return of the Jedi
(see also Return of the Jedi) 15, 20,
124, 174, 213
Star Wars: Episode VI The Empire
Strikes Back (see also The Empire
Strikes Back) 28, 124, 183, 206, 213
Star Wars: The Force Awakens (see also
Episode VII The Force Awakens) 11,
12, 15,16, 124, 191, 202, 243, 244
Star Wars trilogy (original) 232
Starkiller 66, 90, 112, 114, 156, 170, 174,
182, 188, 191, 192, 202, 203, 224,
234, 243, 237, 244, 246-247
stormtrooper 42, 43, 54, 68, 90, 120,
139, 170, 193
storyboards 50
Super 819
supergun 44, 58
Supreme Leader Snoke 197, 210, 212,
227, 232
Svensson, Henrik 233
Sydow, Max von 189
Symbiote 36
Takodana planet 232
Teeto black goggles 185
Tenery, Thom 114, 119, 147, 150, 151,163,
170, 172-173, 183, 184, 186, 201,
203, 207, 211
Thang Le 52
Third Reich 55
Thor's pics 187
THX 1138 16
TIE fighter 2-3, 64-65, 76, 77,79, 90,
93, 118, 121, 132, 139, 174, 192, 224
Tiemens, Erik 16, 20-21, 23, 26, 29, 30,
32, 40, 41, 52, 55, 61, 62, 67, 94-95,
96, 102, 114, 116, 222
Tolkien, J.R.R. 15
Tomkins, Gary 141
torture room 169,170
Toy Story 319
Transformers: Age of Extinction 114
transport idea 177
transporter landing 225
trench layout 190-191
TRON: Legacy 78
troop carrier 215, 225
troop shot 139
tunnel chase 104
underwater emperor room 59
United Arab Emirates (see also Abu
Dhabi) 89, 191
Unkar Plutt 160
vehicle designs 156
village 67, 96, 122, 126, 142, 14.4, 181
villain castle 35
Visualists (see also art department)
16, 19, 20, 25, 40, 54, 102, 124, 222,
243,244
Walker, Matt 222
walker lava show 26
Wallin, Andrée 4-5, 14, 89, 112, 117,
125, 128-129, 132, 137, 142, 145, 155,
165,176
The Walt Disney Company 15, 19
War Horse 146, 150
War of the Worlds 19
Warhammer attack 180
Warhammer blockout 180
Watts, Robert 232
Wescott, Paul 192
‘western town 80
Williams, John 146
Williams, Sam 136
Wilson, John 206, 234
Wizard of Earthsea, A 44
Wollivan 183
X-Men: Days of Future Past 12.4
X-wing 56-57, 136, 141, 146, 150, 159,
181, 194, 195, 204, 215
Yoda sketch 48
ZBrush 136
Zuckuss 183
INDEX
253
For Lucasfilm Ltd.
EXECUTIVE EDITOR J. W.Rinzler
ART DIRECTOR Troy Alders
IMAGE ARCHIVES Stacey Leong, Matthew Azeveda
sToRY GRouP Pablo Hidalgo, Leland Chee, Rayne Roberts
For Abrams
SENIOR EDITOR Eric Klopfer
DESIGNER Liam Flanagan
PRODUCTION MANAGER Denise LaCongo
Library of Congress Control Number: 2014959560
ISBN: 978-1-4197-1780-2
©and TM 2015 LUCASFILMLTD,
(WRAP-AROUND CASE) FALCON CHASE VERSION 03 Chiang
Published in 2015 by Abrams, an imprint of ABRAMS. All rights reserved. No portion of this
book may be reproduced, stored ina retrieval system, or transmitted in any form or by any
means, mechanical, electronic, photocopying, recording, or otherwise, without written
permission from the publisher.
Printedand boundin the United States
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«Yoda Fountain, Lucasfilm Ltd., San Francisco,
California. Left to right: James Clyne, Doug
Chiang, Mark Hamill, Christian Alzmann,
Nicole Letaw, lain McCaig, and Phil Szostak.
Photograph by Liz Hanks Chiang
Acknowledgments
First and foremost, special thanks to Jonathan Rinzler: for his friendship, guidance, and for asking me to be
apart of this incredible book series. And to George Lucas, without whom none of this would be possible, for
his patience and humor; J.J. Abrams and Kathleen Kennedy, for continuing to carry the Star Wars torch so
brilliantly. Special thanks to Rick Carter and Darren Gilford, for allowing me to contribute to their art depart-
mentand for giving so much of their time to this book.
Thanks to friends and supporters Ron Gall, Sean and Sarah Dicken, Mike Bates, Meredith Higdon, Shawn
Hunter, Matt Davis, Chris Wales, and especially Tina Fossella.
At Abrams Books: Eric Klopfer, Liam Flanagan, Gabriel Levinson, and Denise LaCongo.
At Lucasfilm: Brian Miller, Doug Chiang, Nicole Letaw, Genna Elkin, Tyler Scarlet, Stacy Bissell, Luke
O'Byrne, Troy Alders, Rayne Roberts, Sammy Holland, James Erskine, Howard Roffman, Lynne Hale, Kiri
Hart, Pablo Hidalgo, Leland Chee, Simon Kinberg, Michael Siglain, Stacey Leong, Matt Azeveda, Gabrielle
Levenson, Becca Friedman, and Newell Todd.
At Pinewood: Kyle Wetton and Pollyanna Seath; in the costume department: Michael Kaplan, Dave Crossman,
and Henrietta Sylvester; in the creature shop: Neal Scanlan and Katie Newitt.
At Skywalker Ranch: Connie Wethington, Kristine Kolton, Jo Donaldson, Robyn Stanley, Laela French, Joanee
Honour, Kathy Smeaton, and the entire Skywalker Archives team.
At Bad Robot Productions: Cory Bennett Lewis, Michelle Rejwan, and Robby Stambler.
Massive thanks toall of the Force Awakens artists who so thoughtfully spoke about their work.
And toall of those wholifted me up when | needed it: Robert Pollard, Nick Petrulakis, Denis Morella, George
Evelyn, Rick McCallum, Kathryn Ramos, Dominic Robilliard, Jason McGatlin, and Tina Mills.
Love and gratitude to my parents Joseph Szostak and Barbara Armbruster, for unconditionally supporting
my dreams and for pulling me out of school early in 1983 to see a matinee of Return of the Jedi. To my brothers
Martin and Dave, for always being there. And to the next generation of Star Wars fans, my niece and nephew,
Grace and Leo.
>» JEDIKILLERGOTHFACE Power
>> ALTKIRA(REY) II McCaig
Image archivist Phil Szostak was embedded with The
Force Awakens’s art department as a conceptual researcher
and archivist from December 2012 through the end of
production, and he has worked in conjunction with
Star Wars art departments for six years at Lucasfilm Ltd.
A graduate of the School of Visual Arts in New York,
Szostak worked for Wild Brain Animation on the Disney
Channel series Higglytown Heroes, and he ran the JAK
Films Art Department on Skywalker Ranch for more
than three years before joining the narrative design team
on LucasArts’s Star Wars: 1313. He resides in San Francisco.
Production designer Rick Carter has won two Academy
Awards®: One for his design of Steven Spielberg's Lincoln,
and one for his otherworldly production design on James
Cameron's mega-hit Avatar. Carter received his first Oscar
nomination for his work on Robert Zemeckis’s Forrest
Gump, and an additional nomination for Steven Spielberg’s
historic epic War Horse.
Carter has collaborated with Spielberg on such
diversely set films as Munich, War of the Worlds (2005), A.L.
Artificial Intelligence, Amistad, and the blockbuster films
Jurassic Park and its sequel The Lost World: Jurassic Park.
He’s also been Zemeckis’s production designer of
choice on the films The Polar Express, Cast Away, What Lies
Beneath, Death Becomes Her, and Back to the Future Part II
and Part III.
Carter served as co-production designer for Star Wars:
The Force Awakens, and he is currently collaborating with
Steven Spielberg on The BFG. He lives in Los Angeles.
(JACKET FRONT) JEDIKILLERINSNOW Doug Chiang
(JACKET BACK) CRASH SITE ANGLE 2 Andrée Wallin
a@ Abrams
115 West 18th Street
New York, NY 10011
www.abramsbooks.com
www.starwars.com
Dene UWL
Printed in the United States
Tee
The Art of Star Wars : The Force Awakens
THE ART OF Re i;
A / y
MTS
Written by Phil Szostak §Foreword by Doug Chiang
oe NS ——
Written by Phil Szostak
Foreword by Doug Chiang
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CONTENTS
——o
11 FOREWORD BY DOUG CHIANG
12 INTRODUCTION
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250 ACKNOWLEDGMENTS
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HERO ENTRANCE VERSION 03
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Pages-5
(MONSTER ATTACK VERSION 04
Doug chiang
Pages6-7
[WESTERN SUNSET VERSION 02
Jama Jucabaev and hang
Pages8-s
‘MUD PLANET VERSIONOB Jurabsev
MANOO BLURRG VERSION A "Storrs
hasalways mined stuf rom thepast things
thathaverit been used Everyone tata about
Ralph McQuarre, oe Jehstan and lo
Rodie-Jamara. But thse [oiginaltnlegy Stor
Wars] creatures they werePhilTipett and
his aesthetic Andevary timetmdesigng 2
creature. my mantra = What wou Pio
Chistian Alzmann
FOREWORD BY DOUG CHIANG
11977 Su Was (later subtitled A New Hope) premiered in movie
theaters and captivated a generation of fans. At the ageof fifteen, 1 was
among those whose lives were indelibly changed and, like many aspir-
ing young artists, dreamt of one day creating artwork for the Star Wers
universe. Fastforward eighteen years to 1995, when that childhood
dream was fulfilled when George Lucas hed me tohead up the new
art department forthe Se Wars prequel fms. spent the next seven
years working alongside Georg, learning directly from the source
about what makes adesign fo Star Wars Twenty-three yeas later, in
2018, was challenged toapply everything I had learned to design the
rich new worlds of Jon Favreaus The Manddorian.
Set five years afer Retun ofthe ke, The Mardaorian hits the sweet
spotof Str Hhirs design. Jon Favreau and Dave Filoni expanded upon,
thecharacters and worlds that George Lucas created while invent
ing memorable new ones like the Child and the titular Mandalorian
himselfas well asa new east of mish characters and underdogs from
the Sir Wios galaxy.
‘When Tfirst started working on The Mfanduhrian back in January of
2018, Jon charged the Lucasilm art department with staying true to
the spirit ofthe original 1977 film. George always considered A New
‘Hope wobea period film and not science fetion: it was more of a West-
‘ern than a fantasy film. He wanted it grounded in reality to look like it
‘was filmed on location in a real place. Nothing should look lke it had
been designed—even though everything had to be created.
From the classic World War ll bomber influences forthe Razor Crest
spaceship to the odd IGe1t assassin droid reminiscent of The Empire
Strikes Back’s 1G-88 to the whimsical bluregs from the Star Wars: Ewok
Adventures fis, Jon insisted on retaining the charm of the original
designs that inspired us as kids. He encouraged us not to be afraid of,
creatures that looked like rubber puppets from the 1980s or space-
ships that looked like practical miniature models. With the adventof
‘computer graphics, almost anything we ean imagine can be realised,
burthe key to successful Sar Wes design is restraint. The hands of the
artist should remain hidden. Our creations should be reflections of the
characters in the story and nota showease for the art diectoe. The sets
shouldnt look designed, even though they are. Our creations need to
clisappear into the background, The solution t achieving that quality
plicry.Some of the concepts may look simple and obvious in
hindsight, as good ideas often do, We strived to avoid self-conscious
‘creations that would call attention to themselves unnecessarily. In
conderto do this, it was essential to give the designs foundation in
history. Afterall, Sar Wis isnt about designing the furure—it is creat-
inga past from “along time ago, ina galaxy far, faraway,
Within the frst weeks of development I knew we were making,
something special. The Mandalorian channels more than forty-three
years of Star Wars storytelling and designs tocteate something fresh
while honoring what came before. Jon pioneering approach combined
‘new technologies with old-fashioned storytelling, His initial story
pitch made me smile; he said all the things that made me excited a
‘Sar Wars fan, from 1977 0 the present. [remember thinking,
awesome, That's something Lwantt0 see ina Str Wis fir.” Over the
‘ext several months, art development formed a symbiotic relationship
with the writing process. Jons words informed the art, and the art
inspired his words, Ideas were amplified in a process that mirrored my
first years working with George Lucas back in 1995.
In my nearly fifteen years of designing forthe Star Wars universe,
The Mardlalorin's development process was the most demanding
because of ouraggressive production schedule, We had a third of the
time and half the budget of atypical Sar Wars film, and yet we were
tasked with designing more than 300 minutes of content—enough
fortwo Feature films. The art department rose tothe challenge in order
10 full Jon's vision. Rematkably, designs were often approved in only
two or three rounds.
The Art of Sur Wios:The Mandal ran commemorates this intensive
‘creative process. While flipping through these pages I am transported
back in time, not just t0 2018 butall the way back to 1977, We've hon=
cored George Lucas’ design philosophy in orderto realize Jon Favteaus
bold new vision. This book is more than a compilation of beautiful
artwork and designs;itis about the power of images as storytelling
devices. Noneof the design decisions were arbitrary, and in this book
you'll have the opportunity touncover the results. You'll hear directly
from the artists 0 understand the thinking behind their beautiful
paintings, the reasoning beneath these creations, and the stories that
gowith each concept.
INTRODUCTION
“When one chooses to walk the Wi ofthe Mandalor,
_youare both hunter and prey. How canane be coward
Fee chooses this way of ie” —The Armoter
With his Disney+ television series The Mandaloron, executive producer
and writer Jon Favreau (bon Man, Chef The Lio King [2019]) has crafted
the First live-action Star Wire story to Feature the proud warriors most
‘often associated with the unmistakable armor of Boba Fett. But Man
dlalorians have been a partof Star Wirs in one form or another since the
very beginning ofthe now four-decace-old mythology. They have played
as integral a ole in shaping the history ofthat galaxy fa, faraway asthe
Jedi and Sith, whose conflict between the light and dark sides ofthe Ferce
has traditionally been atthe center of Sir Wi storytelling As such, The
Mansalrinis, both n front of ard behind the camera,a broadening of
perspective, exploring a lesser-known but stil vial thread inthe rich
fabric of Star Wis,
‘The origin of The Mandaborian begins with Sta Wis creator Geonge
leas, In his May 1974 daft of "The Star Wars.” Imperial general Darth
‘Vader (not yet the masked dark side disciple offurure drafts) hires Prince
‘Valorum, “a Black Knight ofthe Sith dad in black armor, to tack Gen=
ral Luke Skywalker This bounty hunter archetype was revive for Star
Wiis sequel The Empire Sikes Back, Lucas introduced a mercenary Figure
tocollect dues from Han Solo at Jabba the Hutt’s behest, and so Boba
Fett was born,
“There were quite afew films made about bounty hunters inthe Old
‘West Lucas explained. "That's where that came ftom. He is also very
‘ruc like the Man with No Name [famously played by Cline Eastwood!)
from the Sergio Leone Westerns.” Fett began his life encasedin the white
armor and T-visor helmet ofa squad of supercommandos, troops from
the Mandalore system.” aceotding to The Empire Sikes Back Sketchbook,
published in 1980, Designed by Industrial Light & Magic concept mas-
ters Ralph McQuarrie and Joe Johnston, that stack Mandalorian armor
‘was soon somewhat reimagined, worn and dented, to betterbeitalone
gunslinger on the galactic frontier,
Despite decades of inclusion inthe Shur Ws galaxy it wasnt until
the second season of Star Wir: The Clone Wis animated TV series in
12010 that Mandalorian lore truly began to be canonically established
by Lucas and supervising director Dave Filoni, Coincidentally that
second season also marked the starting point of Favreau and Filonis
‘working relationship, with Favreau lending his voice to the villainous
Mandalorian leader of Death Watch, Pre Vizsla. Mandalorian history
developed further in Filon's animated follow-up to The Che Wars,
‘Star Wis Rebels, which debuted in October 2013 and revealed that 2
disastrous initial encounter with the Jedi pushed ancient Mandalorian
warriors to develop new technology specifically the type of gadget~
filled armor Boba Fett wears in The Empire Stites Back, to neutralize
the Jes paranormal powers. Thus, decades of devastating conflict
between the Jedi and Mardalorians began. Bur one Mandalorian
‘wartio, Tarre Vizsla, ancestor to Pre Vials clan, broke off from his
‘THE ART OF STAR WARS: THE MANDALORIAN
brethren, joining the Jedi Order and forging a unique, black-bladed
lightsaber known as the Darksaber.
Uimatdy, Mandalorians emerged as the thd superpower inthe Star
‘Wigs galany alongside the Jedi and Sith,
Favreau came in witha story about avery diferent Mandalorian than
the one he played in The Clone Wis, bounty hunter forever changed by
his encounter with a mysterious child ofthe same species as master Yous.
Given Dave Floni’s history with Mandalorians, Lucasilm president Kathy
Kennedy brought Favreau and Fon’ together to collaborate on what
became the first-ever ive-action Str Wars TV series.
‘The dynamic between the eponymous Mandalorian and his young
‘charge was inspited by writer Kazuo Koike and artist Goseki Kojimas
wildly popular Lone Wolfand Cub manga, as wel as the film adaptations,
from the 19705. In the manga,ronin (or masterless samurai) Ogami
Itt wanders the countryside of Edo-period Japan, secking vengeance on
those who brutally murdered his wifeand family, all the while pushing
his son Daigoro's baby cart. The shogunate leadership puts aprice on the
heads of father and son, akin tothe acions of Bounty Hunters’ Guild
agent Greef Karp and Iti forced to defend hischld ffom any and all
willing to claim the bounty. The nobility ofthe ronin’ cause, in righting a
grievous wrong and defending the helplss. absolves the violent brutality
with which he eases it out.
Kurosawa Sewn Samir, another massive influence
TheManddoritn "Chapter 4:Sanctuary”), one of
blustery, self-styled ronin who secretly started
his life asa peasant. Against the backdrop of a burning mill,he clutches,
peasant child, the lone survivor ofa bandit attack, “This baby. It's me!
‘The same thing happened to me!" Kikuchiyo sobs.
‘Those who become “lone wolves” are often thrust into it by tragic cr
‘cumstances: the sensdess slaughter of Ito's family, Kiluchiyo’ orphani
at the hands of bandits, Boba Fett witnessing his fathers brutal decapit
tion in Str Wirs:Episode Il Atak the Clans, and the Mandalorian’s
‘qully traumatic childhood in which his home planet was atacked and
his parents murdered by Separatist bate droids during the Clone Wars.
“They remain inconstant motion in an effort to outrun the psychological
and emotional demons that haunt them.To reckon with a chaotic past,
these people seek control nd order. The hunted become the hunters,
‘Throughout the series, the Mandalorian finds other lost souls, namely
1G-11 Kuiil the Ugnaught, Greef Kanga, and Cara Dune, forming a motley
family of meres otherwise adrift in a lawless time afer the fill ofthe
Galactic Empire. But the initial and brightest spark in the Mandalorians
journey of self-discovery through connectedness is the Child, The Man-
dalorian sees the boy that he once was inthis creature: helpless alone,
and desperatelyinneedof rescue.
Inexploring the women and men behind the masks of Mandalore
and the themes that arise with telling their stories the filmmakers
behind The Mandatrin cut to the very heart of Star Wars, while explor-
ing relatively unknown aspects ofits lore. “It sounds strange wo say this,
but being in that trope world of Westerns and samurai films allowed
ey
ha
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+ BABYVERSION1. Azmann
+ MANDO REVISION 3 VERSION 12 Brian Matyas
WHO’S WHO
(CHRISTIAN ALZMANN
barr ausory
Rogue One:A Star Wore
som BAR TIACK
‘CARRIE BECK
co-producer]
casi VP ve
DeoRAN CHOW
RYAN CHURCH
‘bavio oUNcAN
Storyboard artist
RICK AMI
DOirectorfseeenmrte
Jon Faveay
Crester/Executve
prodveer/Screenwite
LaworsFieL08.
DavEriLon
Director/Sereenmrter
REIS FRASER
Co-prodvcer/Dvector
pstograpty
RENEGARCIA
KaRenciLeHmisT
cx GNORAUX
banissasomes
Jonneoonson
AnToN GRaNoERT
‘BEN GRANGEREAU
vorwarr
Former Luce stim
Leas creative
NYOE DALLAS HOWARD
‘sazs010Ne
408 JOHNSTON
ANOREW. JONES
sno JURABAEY
anwicanKenier
KATHLEEN KENNEDY
Executiveproducer!
LoRiAKine
Costume tiuetrator
JOHNKWOLL
FABIANLICEY
aN TLEWiN
coducer/Lucasfim
RICHARD LIM
pave Loweny
Heed of storyboards
seorce weas
BRANMATYAS
IASON MeGATLIN
(o-producer/Lucasfim
seni VPof physical
RALPH MeQUARRIE
StorWarsoriginal wilogy
prodtionflstrator]
Conceptartst
TONY Mevey
Concept sculptor
Propalustatar
s05e°H PORK
IASON PORTER
‘CHRIS REIFF
uu ROBAR
Costume supervisor
JOHN ROSENGRANT
Legacy Effecte supervisor
Jost roTH
AMANOA SERINO
Setdecorator
eK TEENS
Concept supervisor
PHILTiPrerT
StorWorsoriginal wily
makeup designer)
Cresturedesigner/Stop
alka warn:
Diector
couEweRTZ
Conceptmadeler
‘COUN WaLEON
Executive producer/Unit
production manager
JEFF WISMEWSK
Supervising atdirector
cheistorHeRvosT
Executive consultant]
Screenwriter
y
+ FETT HELMET VERBIONO2 “YouiPh8
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THE PITCH
Like millions of other children in the summer of 1977 ten-year-old Jons-
than Favreau of Flushing, Queens, the Dungeons & Dagons-playing
son of New York City public school teachers, saw Str Wars with his dad.
“Lwas right therein the sweet spot, the right age at the right time And
‘Star Wis surprised me. [didn’t know itwas coming | ide’ know what
tocapect. Iwent tothe theater with my dad ana got my mind blown.
‘And there's something relly tanscendent about diferent generations
watching movies together, when yout loving it and your parents are
loving it to. Youre downloading a whole set of tastes. As youre forming
‘who you are youimprint uponthose experiences.”
Even priorto Sa Wins, the cinema of Star Wars creator George Lucas
‘made abig impact on Favreau. [My experience in1977] was coming off
‘of also being completely nthnlled by American Gnofit, which hdped forge
my tastein music and in hot rods and nostalgic culture that echoes in
‘Swingers [Faveau's 1996 breakthrough movie as awriter-ator).I wouldnt
be who Iamwithout the films of George Lucas by any stretch.”
In January of 2008, with three directorial rurns of his own underhis
belt, including the 2003 critical and commercial smash hit EF, Favreau
Found his path intersecting with Sar Wars once more. His frst Marvel
superhero film, on Man for Paramount Picnsres, was mised at ky-
‘walker Sound, Lucasfilm Lids audio post-production facility located on
the grounds of George Lucas’ fabled Skywalker Ranch in Marin County,
California. “Zon an was very much influenced by Sir Wir,” Favreau
recalled. ‘And it taught me about therdationship with source material,
that there is away to honor the people who have been the fins, who
know everything about i, and stil invite new people in. While Iwas
mixingatthe ranch, [bon Mlen producer and Marvel Studios president]
Kevin Feige gave me The Mukingof Sta Wars book [by LW. Rincler,
2007].1 remember reading how precarious everything fd on Str Wis
and what itturned into. And I rememberhow precarious ion Man felt
ar the time and thinking, ‘What fits the same type of thing, where we
actually start something big from this?”
“L was trying to get invited into the archives [on Skywaller Ranch,
‘whereall ofthe original and prequd Star Wars wilogy props and cos-
tumes are stored] .Iwas [a the Ranch] for weeks and couldnt getan
invitation. Eventually, heard word that they were going to let me come
to thearchives, And I went with Kevin Feige, who, by the way, knew
‘very single thing in there. The curators were realy impressed by him.”
Simultaneous to Fayreau’s time at Skywalker Ranch, Lucas and super-
vising direcor Dave Filani were putting the finishing touches on the first
seasonof The Clone Wes animated series. "I remember being invited over
toBig Rock Ranch [the property adjoining Skywalker Ranch where Lucas-
film Animation was headquartered] to meet Dave,” Favrem said. "And 1
showed Dave ron Man. Anal he showed The Clne Wis to me and my son,
Max, which we thought was s0cool.I think he was one ofthe fst people,
certainly the rst outside of Marvel, to see Inn Man. And Isaid, ‘Hey. if
you ever want voice..." Favreau would go on to play the villainous Pre
‘Vizsla, Mandalorian leader ofthe vielent Death Watch fiction who widds
the ominous black-bladed Darksaber, for seven episodes of The Clone Wis.
A.series of aguisitions soon brought Disney, Lucasfilm, and Jon.
Favreau together under one rool, On August 51,2009, while Favreau
was inthe midst of production on on Man, his second film in the
burgeoning Marvel Cinematic Universe (or MCU), the Walt Disney
‘Company announced a deal acquire Marvel Entertainment, Three
years later, Disney acquired Lucasfilm Lid.,adeal that culminated inthe
massive suocess of Sar Wir: The Force Awnker in December 2015.Jon
Favreau live-action adaptation ofthe 1967 animated classic The Jungle
‘Book was another big it for Walt Disney Pitures the following Apri
‘The lead-up tothe 2019 launch of Disney+ made it possible to invest
spteand pursue new creative directions for Siar Wir, including live-action
tdevision shows On September 25,2017 Lucasfilm President Kathleen
Kennedy reached out to Favreau, whose continued passion for both Sar
‘Wars and new and emerging technologies made him the perfect choice
for exploring the Furure ofthe franchise inthe series space. Expressing
an interest in Mandalorians in his reply, Favreau met with Kennedy and
|uscasfilm exccutive Carte Beek on November 9 at the Kennedy/Marshall
Company in Santa Monica, California.
“Idusted off some old ideas and characters from when I heard that,
Disney might be doing more Sir Wars,” Favreau realled. Those ideas
ingluded an intimate character-driven narrative, disconnected from
the larger wars of Suy Wars, Featuring lone Mandalorian gunfighter
redeemed by the child that he must protect. Its straightforward story-
telling would echo the Western and sarourai films that Favreau enjoyed
with his fatherin his formative years. “Alter Kathy heard the pitch, she
‘mentioned that Dave Filoni was thinking about doing something with
the history of the Mandalorians. And Isai, know Dave. love Dave.”
Finally, on November 14,2017, Kennedy, Favreau, Filoni, Beck, and
‘Sur Ws Rebel writer Chris Yost gathered at Kennedy/Marshall to heat
Favreaus Sur Wirs TV show pitch. "Those stories were something that
had been working on for a long time. didnt know it would befor televi-
sion. But Hoved the idea of doing a story [afterthe fll ofthe Empite in
‘Retwn ofthe Jal)” The Lucasfilm at department, led by exceuive reative
director Doug Chiang, were conscripted the following day to complete
several piers of concept at for Favreau pitch
as
oa
‘+ MANOOBABY VERSIONS “50
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THE MANDALORIAN
Almost thre years prior this fateful meeting with Jon Favreau at Sky-
walker Ranch, Avtar: The Last Ainbender director Dave Filoni was hired by
‘Star Ws creator George Lucas, lucasflm Animation vice president and
general manager Gail Curey and executive praducer Catherine Winder to
serve as supervising director forthe animated television series that would
‘evolve into Sur Wars The Clore Wir. "I didn't expect to get the job because
George had worked with so many amazing artists over the yeas like
Ralph McQuarrie, oe Johnston, Dennis Muren, apd Phil Tippett Floni
remembeted."Irwas rally bizarre. Suddenly. wasin charge of bringing
this thing to life." In act, Floni’s first week on the fob, brainstorming
story ideas with write Henry Gilroy, coincided with the May 2005 the-
atrial release of Su Wars Episode Il Revere ofthe Sih, Lucas’ fal Sar
Wis film as writer and director.
Both The Clne Wivs animated series and the very fist live-action Sur
‘rs television series were announced by Lucas in late Apeil2005 at the
perennial Lucasfilm-sponsored fan convention, Sar Wirs Celebration,
Indianapolis Indiana. These projects marked aturn toward television as
Sar Wan’ primary storytelling medium.
Design work onthe then-unnamed live-action tdevision series set
in Coruscants criminal underworld (with bounty hunters appearing
in secondary roles) began in earnest, with the hiring of concept artists
Jonathan Bach and David Hobbins ro JAK Fills (Lucas production
‘company, named for his children Jett, Amanda, ana Katie) inate Novern-
ber 2006, Bach and Hobbins were later joined in Skywalker Ranch’s
“Main House by concept artists Fabian Lacey and Kinman Chan, design
supervisor Erk Tiemens, and art department coordinator Phil Szostak,
‘with Ryan Church contributing concept art remotely. Over adecade later,
Hobbins, Lace, Temens, Church, and Szostak would reunite to work on.
another live-action Star Wirs television series, The Mandakrian,
Given thetwo shows’ concurrent development, sory seeds and
designs from the live-action series, including Level 1313 of Coruscant’
uunderwoed, militant rebel Saw Gerera (ater added to 2016's Regve
(One: Star Win Ston) droid bounty hunter C21 Highsinger, and the
alien Pyke Syndicate (also sen in 20183 Slo: Star Wars Stor), were
planted in The Cine Wir, intended to pay off later. The frst few episodes
‘of the animated series were combined and restructured into an animated
Feature film also titled Str Wars TheChne Wi, released on August 15,
2008, The Cone Wirs series itself, which, under Lucas and Filo’
supervision, realy expanded the lore of the Mandalorian people and
continued Star Wars: Episode I Attack of the Claes’ story ofa young,
Boba Fett, debuted two months lateroa the Cartoon Network, running
for six multiple Emmy Award-winning seasons.
Burby mid-2 010, with fifty scripts dafied bya writer's room led by
Lucas and thousands of pieces of concept art generated, the live-action
series was put ‘on hold” due to budgetary concerns. And production of
The Cine Wies wound dowe in late 2012, a Lucasfilm pivoted toward an
original wilogy-focused Sar Wars storytelling initiative under the Walt
Disney Company and new president Kathleen Kennedy spearheaded by
a sequel to 198s Sar Wes: Episode VI Retum ofthe fd.
In an effort w reainthe core of his seasoned Lucasfilm Animation
team, Filoni brainstormed ideas for anew animated series. "The current
idea of Sur Wins Rebels started with ray friend, Carte Beck, who works
with te story eam at Lucasfilm,” Filoni said in 2014, One of the ideas
that Carrie had was for this A-Teum group that went around righting,
‘wrongs. told her itwas really similar to an [early idea that Thad for
‘Clone Wis in which Jedi Master and his Padawan Ashla (who would
inspire The Cle Wies beloved Ahsoka Tano) join the crew of a “Milen-
‘nm Falconstyle smuggling ship" for adventures across the galaxy. After
period of dewdopment, during which Beek and Floni were joined by
writer/director Simon Kinberg (Mand rx Smith Sherlock Holes, Xen:
Diysof Fite Pst, Star Wars Rebel went int fll production in ealy 2013
(Over ime, ideas from Lucas’ live-action series, sch asthe formation of
the nascent Rebellion, would also be folded into Rebeb,
Prior tothis shift into the sequel wilogy, Kennedy met with Fileni
(and others in the company) t0 ask how he envisioned his furure with
Lucasfilm, “Well, want to continuein animation, but Lam really
interested in live-action,” Filoni answered. "She sad, (OK.Live-action
isa very different medium but le’ set you up 10 seeif youl really ike
it! And Iwanted to take it slow. respect the medium and the people
so much that [did't want to just jump into it and be in over my head.
So, Kathy orchestrated sending me o set [Pinewood Studios, where the
ssodern Str Wars films were shot] ands therefore instrumental in allo
this for me. leant say enough supportive and good things about he.”
2
+ MANOO REPAIRED VERSION OS
‘+ ICETOWNPARKINGVERSIONA Church and hia +4 MYTHROLINHANDGUFFS VERSION 03 Jorabsev and Chiang
THEMANOALORIAN 47
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+ QUARREN PAINTED MAQUETTE VERSION 13,
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| Have Spoken
At Lucasfilm president Kathleen Kennedy's behest, Dave Floni began
inewood Studios sets of the new live-action Str Ho films
starting with Sar Wars: The Force Awukersinmid-2.014 "Id only go fora
week ata time because I was stil doing Rebel,” Filoni recalled. And I
would just st there quietly and watch, I'll never Forget that when Ivisited
Abrams, who had such
Episode VIL, [co-writers] Larry Kasdan an
tremendous weight on their shoulders looked up and said, ‘Hey, Dave
congratulations on Rebels’ That kind of thing jst floors you alway
The following yea, Filoni visited the set of Rogue One: A Star Wire
Story. "That had a dual purpose because I was more involved with the
story, which [due to overlapping in-universe timelines] was way more
relevant to the work I was doing on Rebel" Floni said. "Certainly
indeveloping the thd act battle [in which Rebel? starship the
appeared) with John Knoll and Hal Hickel, And I had to make sure th
[Rebel
droid] Chopper was Chopper in Rogue One and, frankly, wasnt
inthe way, But talked to [director] Gareth Edwards and [writer] Gary
Whitta so much throughout the process that Gary wrote on Reels, He's
so fun and we gt along as two Sir Win fans also met Greig Fras
Rogue One's director of photography, and Baz [second unit cinematog
rapher Barry Idoine]." Fraser and Idoine would return to Star Wars a
cinematographers for The Mandalorian
But Filonis greatest education asa live-action director may
inthe setof Star Wis: The Last Jeli early 2016, Filoni
recounted that “[ditector] Rian Johnson had me tight up next to hin
with theeamera. He shoved lenses in my hand and said, ‘Look through
here? He would bring mealong to show mehow to block scene. Ria
f my interest in doing live-action, as was his pr
ducer, Ram Bergman, They realy made me feel like this was something.
that I could d
Kennedy's email gauging
(On September 25, Jon Favreau replied
TV series, expeessing interest in Mandalor
ans.a subject Filoni also wished to explore Further. Fayreau and Fil
hating a mutual historyin Mandalorians from theie time on Clone Wi
llaborateon the subjectin the Novem
were reunited by Kennedy toc
ber 1g meeting atthe Kennedy: Marshall Company, culminating in the
creation of pitch art that same month. Filoni quickly fed sketches of
potential moments in the series to Doug Chiang’ Lucasilm ae depart
‘ment, "Through my sketches, Jon and I can instantly communicate
Filoni said. "And when we talk to Doug, hopefully we're on sym
metrical page, Then, the art department make it something you could
with them. But [in late 2017],
never have dreamed of I love workin
how. My Clone War and Re
one-to-one [with the final desig
le sketches end up pretty
«| Whereas in liveaction, i's a more
fluid evolution,
Affer nine fall months of design, fabrication, and prep work, Th
Mandaloian "Chapter 1” matked Dave Filon's live-action debut as a
director, shot concurrently with director Deborah Chow's “Chapter
‘The Sin" as the two episodes share much of the same cast and sets,
{Clan Wars or Re
have somebody ike Jon be supportiveand
ywledge that he has,
+ UoNAUGHT SCULPT Mvey
4 MUD PLANET VERSION 07 Jurabaey
+ RAZOM CREST CAMOUFLAGE VERSION D1 Engstror i =o
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+ BLURRGS CLIMBING VERSION Ox 7 ‘+ BLURRGS CLIMBING VERSIONOZ Jurabaev
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4 MANOALORIAN RESCUE VERSION 03
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+ Mawoa wint eae VERON 02 + VONAUGHT REPAIRS VERSION IA
THE SIN
it's just baby.And big ears imply a character thar’ receptive
d aware and €
npatheti
ding the Mandalorian: “making somebody who is distinct from,
Boba Fett was a big challenge,” Chiang sald "We
1 silhouette but create a more powerful, more icon
Jalorian,almost like the idealized, aspirational version of Boba Fett
iconie Mandalorian helmet tight as possibleto both the stunt
former's and actors heads so that they'te comfortable and don't look
ead
ned in on the Racor Crest pretty quickly because Jonwanted
on, Wewanted ito last
the titular Mandalorian ship the Racor Cre, and a child ry quickly, within the firsttwo or three months, we outlined the
f Yoda's unnamed alien species, around w {theentire look of the whole series,” Chiang continued. rybod y
ries revoh from the studio side to Kathy tothe teams that were coming on board
hanged very little. It just got more refine
ry quickly understand wherewewere going. Amazingly, that
Favreau completed his shooting draft of The Mandalorian "Chapter
8, and it was shot by veteran fil and TV
The Sin” on September 2
direct
tory and character, it really
wex you Chow said. “If you're not engaged with
+ iva STREET \aGHT VERSION c2
2» THESIN STORYBOARD 410 Lowery Norwo
us
4 BRUTE MANDO WEAPON VERSION 1A. Azmann
+ Heavy aLASTER VERSION 02
SANCTUARY
‘The Lucasfilm art department designer with the deepest historical com
Wars was concept sculptor Tony McVey, joining the San
Francisco-based team on March 12,2018, member of ILM creature
supervisor Phil Tippett’ crew for 1983 Str Wirs: Episode VI Return of
the Je
Crumb, corpulent crime lord Jabba the Hutr’s cackling court
McVeyis most famous for designing and fabricating Salacious B.
ester. “Phil
came to me ne day and said,’ We need
1s supposed
tosit on thearm of Ephant Mon, like parrot. So why
dont you go design something?” McVey remembered. “Iwent home
that night and did a drawing. It ook me ten minutes. And th
The puppet wasn'teven that sophisticated. It oul.
couldn blink. It couldrit do
the set made the decision to make Salacious a featured char
‘tmoveits eyes. It
rything, really [laughs]. Somebody on
Hedid
wel, my litte boy didnt he? [ Laughs] In September of 2018, MeVey
recreated the Salacious Crumb puppet from scratch and by hand for The
Mandilorian "Chapters:
‘Prior to Return the kb was working on The Dark Crystal for eleven,
months or soin England, intially at the puppet workshop in Hampstead,
right across the street from where im Henson lived,” McVey continu
The basement was where all ofthe foam rubber was run. Acouple of big
fourm rubberinton
ovens and two people injecting
was doing little bits hee and there, pick-up stuff ike Aughras horns and
feet and various Podlings
Thad meta guy named Mike McCormick from Alb
werque when I
was working a the puppet workshop. So when our time was up on The
LAcand
x [1982] and Fright Night [1985] workshops
we thought weid com what was available
butdidne get any work,And then somebody suggested we talk to Phill
Tippett. Phil said, ‘Sure, I've heard of you guys. Why dont you come up
to Northern California? Were just gearing up for this new movie, Return
othe edi! So, Lwas on that for nine 3. enjoyed myself and
did lot of stuff. thad to make thece pig guard bodies, th
Ephant Mon
costume, and Salacious Crumb of course
Maley went on to bea concept sculptor under Doug Chiang for both
o Men 024 Episode I:
tack ofthe Clones, Foe which he fashioned the final look ofthe insectoid
1 999% Sar Wios: Episode I The Pha anda.
Geonosians and sculpted the head of Yada that was scanned and dig
tized forthe prequel trilogy. Chiang hired McVey again at Ima
Digital, where he formed the monstrous Grendel for Robert Zemeckis!
ar Wes in 2018, McVey
1 now: And I'm the
old days
odels for the Natural History
2007 adaptation of Beowslf Upon returning
found that “it has changed quite abit
cnly haldaver from the old days. I'm st
all dig
[laughs]. My background isin making
‘+ CARA AMBUSH VERSION 24 .
» visa oAscER Gzzime
Museum, They had to look right because they were vetted by scientists
before they went into the gallery. So, tha's uppermost in anything 1
design. sit actually Functional I it going to work propedly when it
moves? Ifit doesnt. then ithas to be change
Inthe midst of concept designing The Mandarin Chapters trough 3,
the Lucasfilm art deparonentkideed off "Chapter 4 Sanctuary" in mid
March 2018, following the February 8 delivery of Jon Favteaus Sen
Sans jan Matyas imme
pited first draft sript.Coneept ast
diately got to work designing ex-Rebd shock trooper Cara Dune, "The
emai thing was that Carahad to bea worthy opponent tothe Mandalo
rian,s0 youcould believe she could kick Mando's ass" Chiang reflected
“Gina has such a presence already thatthe challenge was just coming up
with an outfit th
complemented her
or
‘Chapter 4: Sanctuary” was in production from December 14,2018,
The sixth of eight episodes shot for The Aan
Season
(019, witha two-week holiday breakin the middle
Director Bryce Dallas Howard completed the episode almost ayeat to
the day after her father, Ron Howard (star of George Lucas's second
feature film and first box office smash American Graft and ditector of
Lucasfilm’ 1988 fantasy film Will
A Sar Wios
) completed the final pick-up shot
‘sar Wins has been a very personal journey because Teare very deeply
about the man behind the story,” Bryce Dallas Howard said. "George
honestly feels like family and has been a mentor tomy father since he
was a teenager Its incredible tobe a partof the continuation of this story
Tye always beenin awe of Star Wins and the magic ofthat.”
128
” 1
iz. sa}
i
a
re
hI
+ KRULL FARMS VERSION 05 Jurabaey
1+ RIL FARMS VERSION 0
+ RILL FARMS VERSION O3 Ju
‘+ KRILLVILLAGE OVERVIEW 92. Grandert
+ ARILL WLLAGE OVERVIEW 22. Grandert
a rt
BAG 5
THE GUNSLINGER
Jon Favreau delivered The
sori “Chapter” rough draft script to his
fellow executive producer and primary creative collaborator Dave Filoni on
antdepartment completed pitch art for The Mundaorian and ten days after
the United States theatrical debut of Sur Wins: The Last fel.
in the early Mandalaran episodes, Jo
and were figuring out our
writing syle and collaboration," Filoni said, "In most story meetings we
sitand talk about what wed like to see in Sur Wins, We push each other's
boundaries and rally to come up ith good salves, can sit with Jonand,in
anhour, come up with a whole episode, And then Jonwill go off and write it
My process is ait longer. ike to ferment my ideas secretly overtime
Twas trying to learn a slightly different way of writing Star Wars
fry strongly wanted Western tropes And Westerns have pretty lear dia
logue. The gunslingers don't really say lot. So, that was different for me
‘One Western in particular inspired Filoni's story fr "Chapter ;The
Gunslinger” the first Mandarin script written by someone other than
Favreau. "Jon had keyed me to a TV series called The Westerner [1960]
by Sam Peckinpah" Filoni said. "It became a template on how to tell a
lear, clean story that was stil really compelling.'Hand on the Gun'is an
pisode where young man comes out from the city and isin love with
the idea of what it means tobe acowboy, Heb got the nice shiny hat and
pdlished gun. He understands gunslinging from pulp novel
sit understand the realty of it: that it's teal job.And that
there's a code, Eventually, the character proves to be more and more di
honorable.And in the end, the ki
repute and doesn follow the code of the West, He gets his comeuppance
1 pitched ‘Chapter 5" to Jon, Usually, my frst pite i an ovetoad for hi
1 cut ofthat, he’ challenging me. "What are you rally saying? What
theimportant thing about this? What do you ike about this episode?
And I start to distil it down. You need to find ways to be subtle but still
ye worked at that.
get your point across. And
jt definitely affected Clone Wiars this year [referring to the animated
show, which returned fora seventh and final season on Disney i
February of 2030, executive produced, directed, and written by Filo.
You need to be challenged constantly and Jon’ knowledge is a chal:
lenge for me, which is good. And there's ll kinds of things about Star
Wis that I can lend knowledge to him about: little subtle tweaks on
lines and things that consect it to the broader Star Wars universe in a
way that might have been missed if wasn't there
‘Chapter §: The Gunslinger" was the final episode ofthe first seasor
The Ae
Poctically, first-time live-action direct
lrin in production, from January 9 to Februaty 12,2019,
Filoni helmed both the first and
last ofthe eight episodes shor
+ DeWBACK MANDO VERSION o1
asa
4+ SPCEOER BIKE DESERT VERSION 12
360 THE ART OF St
‘+ Mow ELEY VI6TA VERSION OB Grandert
+ Mos ELEY WSTA VERSION 03 Grande
+4 DOCKING BAY35 VERSION O3
‘Alemann
‘+ TATOOINE SETVERSION 10 Park 4 ALLEY DOR VERSION OX Park + Mos EISLEV SPIKE VERSION 2 Park
THE PRISONER
Despiteits far Bung frontier appearances, The Manallorian was the fist
‘Sar Wis production to be shot entirely Je sate of Californ
Enabling this achievement were technological leapsin
{both Str Wis and Wale Disn
relationship between what Walt did wi
xyAnimation storytelling. “Theres a
mationand what Georgedid
with
or Wir” show creator Jon Favreau realized. "You'recalling upon
the old stories and bringing new technologies to bear to make them
relevant for anew generation.
As Lucas did with Industral Light & Magic (ILM) on his films
Fayreau too pushed ILM toinnovate, ILM VFX
and his team used similar LED (light
walls wo the ones used to project animated lig
windows of Rague One: A Sar Wis ary and Sole
nan entirely new and risky way:as fully
ditectly behind the actors, synchr
‘Using he relationship with ILM, Kathy [Kennedy] supported my
vision forincorporating technologies that I've worked with on previous
projects (namely, real-time set ext
technology for The Jaye Book [2016] and moving cameras within virwal
environments using consumer-facing virtual reality [VR] technology for
TheLion King [2019]) with innovative in-camera visual effects” Favreau
continued. "Idortt think we could have done it labora
tion, because The Mandalrian is avery challen
Camera tests Fortis ere ths into
pre-production, on May Dynamics,
film equipment supply h ia. There, director
f photography Greig Fraser tested several cam
‘both in and out of a prototype chrome Ma
preexisting and edatively small LED vi rojectng test patterns
Asmonth later, foe June’ to 16 t Manhattan Beach Studios, where
a horeethne of LED screens &
More
than a dozen test shots were filmed over the five days, with LED envirary
cal lift arms holding additional screens overhead, was ass
iments provided by production designer Andrew L. Jones's Vitual Art
Department (or VAD, who also created rough 3D sets for virtual scouting,
g Unreal video:
lighting, and filmmaker approval), Epic Games (u
game engine technology), and ILM, who employed custom panospheres
+ SPACE STATION EXTERORIA Hobbins
360-degree panoramic photography or video) of real-world locations
created for Rogue One and Solo, Those shots included the Mandalorian
4 stand-in wearing prototype armor)on the ice planet board wal,
appearing through the bar’ rising doorway in
Nevatro public house, in the back seat ofa speeder taxi driven by adigital
ide the ice planet bar and
Trandoshan, and walking around Arvala75 salt ats
Tewasrit until the final days ofthe June test tha the crew was fully com:
vinced that the technology could work, The Mandalorian walked in front
ofthe video wall displaying ILM photogrammetry (three-dimensional
environments fibricated from th
jusands of location photographs) of
gel Island. Fraser told
an abandoned building on San Francisco Bay's
Fayreau, "My jaws on the loot. I never thoughtit could look as good as
this, For me, this isa completeand utter game-changer
Ue ne half of The Mandala
rents would utilize the seventy: foot diameter LED wall horseshoe
‘casually referred toa “the volume"). Those environments included
thee planet exteriors, Nevarro lava fields (utilizing ILM photogram:
metry of Iceland), the Client's chamber, Arvala-7 and Tatooine's desert
land scapes (ILM photogrammetry from outside Salt Lake City, Utah, and
California's Harper Dry Lake, Dumont Dunes, and Death Valley), Sor
gun's common house interior, and Chapter 6's chop shop hangat, "The
barrier of entry for Ser Wars TV for many years was simply the scope
Bluff said. “I dont think anybody would accept a Star Wars TV show
where you didn't visit vastly diferent environments This technology
allows us to achieve that visual bar faster than you would expeet wo do
throu gh traditional mo
ie techniques
Preexisting visual effects techniques were also employed, including a
scale model of the Razor Crest cast and assembled by John Good son, with
parts 3D-printed by Landis Fields, coupled with John Kroll’ garage-built
Keflex” motion control system, an the virtual reality desi gn-approval
King."
ally validating the designs allowed us to get aur answers very quickly!
workflow that Favreau was already employing on The Lio
(Chiang said. “It was the only way we could achieve this amount of design
in this short amouss of dine
‘Chapter 6: The Prisoner” written by episode director Rick Farouyiva
and Star Wis Rebs Christopher Yost, was the next-to-last Season 1
cpisode
n production, shot from January 2§ to February 8, 2019,
vs
‘+ PRISON TRANSPORT VERSION 03 ++ NEW REPUBLIC POUCE VERSION 2¢ Matyas and Ovens
THE RECKONING
= Vr nein
3 EE
2
26
Pe
DESTRUCTION VERSION XA Gindraux
sd ian
Puauc HOUSE sHooTOUT VERSION 02
:
i
REDEMPTION
INDEX
‘Aso Thunderbole atop 4
Abramss}.70
Admiral Thawn 30
Aldenanian Feet Troopersi92
Allsopp, Matt 341
‘Alemann,Chiistan1,16.2+33,40,
H:45.50.71.73.7476,77 78,7981,
Ha-#3 8791,97, 101,105 104-105,
106,167,110, 11,012-15, 14, 16,12
24 128-129,1944.240, 44 48,
153-155 160,161,162-463,170, 75,
37415-17918, 184, 186187,
4190,192,193197,198,199, 200-201,
102,203, 204,305, 206-207, 208,
209,212,226,217 226-27,228
Ansrian Grit 19 97129
“Anakin Skywaller 193,197
Arihnda Pryce 90.
the Anmorer Garbo Blacksmith) 58,
59168,239; workshop of 68, 65,339
‘Analay (planet) 8-9,84,85,
‘7austorboard 8 mud planet
iustations 91 (xe ako Arvala7)
ATESTatack 4 148.149
Atackof th Clnes12.13
Baby You 16,17,20,26, 76,77
79 BiH 85.124, 135141 208,
2209, 213218-219,237 238 space
bassinet for 20,2179 96-97,98:
storboards 115 Ge ako Yada)
Bach, Jonathana7
BazeMalbus 123
Beck, Catie 19,27
Bergman, am 70
Beskar (game) ilustraton 57
Bib Foruna ot
blacksmith $9,69,120,255,236-297,
28;toolkit 59 ea Armor)
Blockade Runner escape pa 187.195
lll Richard 179,197
the blnrgio-i1 74, 72,7491 205.212,
23,216,228
Bo-Katan Kryze 59
Boba Fet 12, 18,19,24-25,27,29,343%
598, 67.97.10,154.285: mthosaur
kul emblem 67
bounty hunters 143,210, 2ujighter
156 hideout 170; inspirations 1563,
Roost space station 174;tacking
feb 54 (ee i Niko, Rie Mar
‘Tandoshan)
Buck Rayre97.327
Cai Highsinger27 (ee ako droids)
Cara Dune 12,129 130,134198,199,
212,21 7ambush 128-439; am
‘wresling 208; Mando igh 3
stonboards 130,149
(Carano, Ginai39,198
Cassin Andor 227
Chan, Kinman 27
"Chapters" Gee The Mandaba
"ChapterisThe Mandblorian”)
Chiang, Doug4-s,6-2415,1930,32,
35.36.97 38-39.40.44 4245445
45. 49-47.48,50, 52-54 54.5758,
60,61,63, 63, 64-65, 66, 7.68, 70,
76721476672 78.79.81, 84.85.87
90, 92,93.97 98, 99,100,103,106,
1070109, 110,11, 114, 173 118-119,
120,124124.126-497,29,194135.
40, 42.145.144.15315515 6.160,
165,370, 17417918), 185,186,190,
193,193 197 203, 205, 209310,
220,231,223,224-235,237230,
394235, 239,240,245,244,250
the Child 172,237 ie abo Baby Yoda)
‘Chopper (droid) 70 (se abo droid)
Chow, Deborah 13,70, 19,193, 197,237
‘Christian, Roger 166
‘Church, Ryan 14-15,20.24.27.4.35.
16, 3%61,63, 68 92,9197 100, 103,
106,16, 125.125.152.184 155.156,
60,164, 183.184, 185,186,187 103,
194193 31,320, 231,222,229
-240,244242,244,246-247.250,
250-251252-251, 254
the Client 55,197
The Cone Wars oe Sear Wir TheClone
Wie)
‘Choud Ci 183
Core Worlds 150.165,
‘Coruscant 27,133: Coruscant Level
5 5
Crossman, David 221
(Currey, Gail =7
Dagabah 216
The Dark Cystd 76,129
Dacksaber2,10,254
208 THEART OF STAR WARS-THE MANALORIAN
Danh Ma 80
Dah Viderts,32,197.223
Desh Sarig3209
death woopers 231
Death Watch scion 12.19.59
decommissioned stormtmopers (ee
stormeroopers)
Dengarsso
Devaronian Mercs 18h
dewbackis3-53.171
DICE (EA Digital illusions CE AB) 119
Dill Glyn 221
in Darn (we Mando)
Disney+ 1, 19153:227
De Pershing 124:emblem 24
ddoids 12,244 242; bow /erry24
(Cat Highsinger27 cantina 170;
Chopper 7o:evil droid ified 24
1G 227;imasion 102;Jawadroid
sae 190; kil fren 34;medical
124: New Republici90; pit doids
16 prion 190; prison ahi
Re-seriesastiomech 190; security
190 (ee aboG)
Dayz
DuneSea 17.174
Duncan, David 15,125.150,149 216,
24s
Edwards, Gareth 70
‘llenshuw. Harrison 164
The Empire Ses Back 412,74.148,
208,217,227 eral Star Wars
Episode VThe Empire Soke xk)
‘The Empire Snes Back Sktlboak 12
Endar 35
Engsrom, Sth 43 86,87 92.93.98,
110,119 122. 197.140,43,
Ephant Mon 139
FpicGamesi79
Euoks The Bath fr Ebr 74.42
Farmuyiwa Riki, 85,97,109,179,195,
Feat Jom 1412,15.18,20,24.27.34
35,38, 5740,44. 54.57 60,66, 70,
74.76.7778, 81,86,92,97102,109,
199.214120,124,129.194 155.55
156, 158,160,178 183,197.205,209,
220,222,227.240,241
Feige, Kevin
Fenner Shand 172. 73.174
elds, Landis 64, 63,108,184
Fon. Davei213,19 20,2424,27.28,
49.4448 H48.48,50,5156,65
6270.76.71 4
4. 89,125,144 153 153 158,15,
964 365,166,271,173.275.174, 193,
197,222,227
FluhGondon 93227
The FrceAuakens 9, 67.70.97 195 (xe
sto Su Wars EpisodeVI The Fre
Awan)
4LOMa4i8i
Fraser Greig70.179
Frazer, Frank 37
Garcia, Renei00,107.19.156
Genenl Veersi30
Geonasians 129
Giroy.Henry 27
Gindran, Nick 42-4.14-15.45.46-43
48,50, 6 68,6973, 75.74.72 8
92.93.98, 101,102,106,107.18,
150-151, 188, 170, 188-189, 203,
3205,221,230,281
Goodson,john 179
Grandert, Anton $8,67 69, 90,103
108 119.16, 172938-09.44% 144,
145. 146-47148.149,164 164.165
Grangerau, en 92
Gree Kanga i, 5,
Hascersy
Han Sob 12,31
Harryhausen, Ray 44
Henson,fim 76,129
Herzog, Werner 5.197
Hided, Hal 70,74
Hidalgo, Pablo 166
Hobbins, David 2536.42, 59.75.79,
106,119,145 178-179,183. 184.193
horsechaseillustation 2-28,
Howard, Bryce Dalls 1.129
fice planer 43, 48-49,51179 ice bar
stonbourdsand illustrations 50:
arn door 49 sketch 49; storyboard
sheich 50; patking yee speeder 42
Mine, Bany70
KGanuui2.13.74,202,205,227229
_330 (xe abo draids)
16-88 112474
ge, Bob 227
7 216,218.19;
Aluminaion Dynamics 179
[LM London (see Industrial Light &
Magic)
ImageMovers Digital 97129
Anmpeial Star Destroyers 198
Impesal ToopTransport(IT1)230
Andustil Light & Magici2,119,129,
9197
Jhon Man (2008 film)12,19 81
Jabba the Hutt 3,139,240
JAK Films7
Jango Fett 23 28
Jawasi90,254camp 106; eg 16,117
landscape 108;sanderawlers100,
101,107,108; trippers 86, 100
Jedha City 125
Je fdkn Onder 220
Johnsen, Rian 70
Johnsion,Joe 14,27 160,335
Jones, Andrew L. 1837 71
The angle Book (2016 lm)
Jurabacy Jama 6-7,8-9,38-39.45,60,
6468,76,77:84,85, 82 88-89,90,
19,92,101 109,19.135.144 44,
166,173
Kenedy, Kathleen 19,3,70,3179
Kennedy/Marshall Company 9,70.97
Kenner Products 75,93 230
“Kellex” motion conti system 179
Kim, Gloria 40,55,72, 141180
Kinberg Simon 27
Kiatooinians 136,143} camp 144: ctow’s
est: vllage 44,145, 146-147
Koal John 70,179
Koike, Kazuo 2 |
Kojima, Gosek 12
Kengan Gare ye
{sil farms and village (se Sorgan)
Jruch game 198
K2S0 190
Kail 2,205,228 Geeako Ugnaught)
Kurosawa, Akira 2,197
Lacey Fabian 27 68,
Lange, Harry36
lamer: Martio2
The lasted 70,153
{LED (light-emitting diode) video
effes175.243
Leone, Sergi 2, 197,210,229
Lim, Richard 7319
TheLion King (2019) 12,24, 81179
Lone Wefan Cub manga) 12,79:
influences on Mandovi designers
nat
Lowery, Dave $0,115,125, 130,149,
316,245
Locas,Geoge 12,1, 1937.70,93161
179,192,193237
Lecasfilm2,1519,27 69 70,9709,
128,153,166, 193.197
Lake Skywaer12,32,42,297
Lana, Diego 227
TheMakingof Ser Wis (book) 9
TheMandakvi Chapter The
Mandalorian 37,70, 86,119,129,
455181,197 20,227 Calfomia
locations fori79
TheMandabran "Chapter 3:The Child?
mM
TheMandakvin “Chapter The Sin®
70119-12339 237;Htoyboard 19
TheMandakvin “Chapter 4:Sanetuary”
12,129-151
TheAMandain “Chapter 5:The
Gunslinge” 74,15)-172.237
TheMandabyion “Chapter 6: The
Prisoner” 179-104
TheMandatrian"Chapter7:The
Reckoning” 55, 197-235
TheMandalran “Chapter 8:
Redemption” 231 237-247
TheMandatvrian (TV setes)13,27.74,
97.19 19. 166,179337
Mandalorans 57,58, 102:camouflages
B6jconver s:den 67 enclaves;
infantry 122; kids 66;brate 120,121,
123,226-227,250; Meesi80, 18
negotiation 20; pauldron design 236:
singing whistling) birds weapon
125 shetches 26,24: weaponry 32
Mando (Din Djarin)3,16,17,.20,25,
27,28, 20,30,31,38.38 36,44 4678
91. 96-97 98 116,123, 126-123 129,
194 19440.149,158,171172,174,
208213251, 22-2y3.4siblaster
suztdewbackisa-isy:Rlashback
ilustrations 162, 103,104-105:
_gauntler 32; hovercart 106; jetpack
235; torpbouns 43.15,150, 149,216;
vision POV 92 (ee alo Din Djarin)
Manhattan Beach Sudios 79
Manel: Cinematic Universe 227;
Enerainment 19;Studios.9
Matyas, Brian 7.24-25, 26,27 28,29,
30,3133 hth 4 4555. 56,5758,
58,66,75,97 98, 99,103,119 120,
12133, 124,129:150,15442,154,
355,157358.159.172.173180,181,
183,191,192,197 210, 214,214-215,
234234-225,25,22-93254,
235,236-27239.245.251-254
Mayfield Bo; weapons 180
Maz Kanata 67
MeCaig. lain 97
MeGregor.Ewan 237
McQuarrie, Ralph i 2, 37.9710% 165
181,216,227
Mey. Tony 40,44 45 54:70. 72.75,
99 14129,42
Meinerding, Ryan 97
Meri, 193 Geeabo Devaronian
Mercs, Mandaloran Mees, Twilek
Mercs Tyler Mere)
Milenio Fakon35,56,165
Miyazabi, Hayao 119,141
Moff Gideon 196-197 232,233.
324-235,250,254-255
Mos lsey74, 160,161,165, 166;
«cantina 166,170; spike ilustation
168-169
the muhorn 0, 142-13 144,
ions for tik
«avei09,11:i
sherch ne,
Muren,Dennis 27
Mustafar215
Mythrol 8-38.40, sketch 40
Nautolans 41
Nevaro (planet) $6.53 6463.63,
gz 210,213;campfie 214-216:
cournyard 233; dborway 23 front
gate 220;imperal bunker 63:
betbout 240, 246-247; la fidds
179; va fills 213; hava plane 60,
ulaarver 42.243 244: at
14x market 62; liceinterior 3:
publichouse §2-53.64-65.155154,
179,197 221m house 64.63. 123,
124.125; sewer dock 240,243 248
sewer escape 234:shop interior 6,
serch 6x: stetbatte125;stmeets
60,61,118-19, 22;tunnel eit 244
ANaw Hope 1,100,165, 170,193,238
(Geeal Sa Wies|1977], Str Wirs
Episode 1VA New Hope)
New Republic iss 165,19 draidsi9c,
getaway ship 9s prion 93.295:
prison brtleand shootour 188-89,
190% prison ship 186, 187;prison
wansport 162,193
Niko: bandits75, 93rbounty hunters
_215gatlng laser guns; standoff 92,
9494-95 wn 92.93
Norwood, Philip 0,15,110.125.330,
149.216,245
(OWs-Wan Kenobi 227
OurerRim 61165
Ozsimo, Pail 54,58,129,239
Park John 48 $454, 60, 62, 64-65,66,
7196-97,98,99.15 1758-119,
136-137134166,163 168-169
Paul, Russell 93.119
Pali Mono 153 168 cukunlinluences
ofcharateris7
The Phantns Menace 1,191 (xe abo Star
‘rs Episode 1 The Phantom Mena)
photogrammety 179
Pinewood Stutios37.70.119,227
Port, Joseph 40,55,72,144 180
Power, Dermot 97,
PreViesa 2.19)
Prince Vlorur iz
prison ship (see: New Republic)
Pyke Syndicate =7
quanuusns 216
the Quarten ggtrawler 41
QiniBo,191
RAg Death Sar droidsitt
RaDa2gt
Rabon, Ken75
Ran Mak 80,186
Ravinak4s
azo Cres gunship 35.36.37. 86,118
155,165, 170.184, 18
Reif, Chri 166
repeavians216,217 storyboards 216
Reta the fed 19.4, 160,191 (se
abo Sur Wis Episode VI Reem f
thefali)
Rio Durant ng
Riot Marist. 155.156; uniform logos
154 Gees bounny hunter fighter)
RadesckJones.Aln 170
Radisfamero, Nilo
Regue Onc Str Wis S09) 13.2331.70,
Hullo, 123,133.124,133.78 190,
224227241
Salaious B Crumb 129
SawGerrea27
‘Sedaris, Ay 157
The Seen Saami (1954) 2.129.227
Sith 2,197
71209210
SlywalkerRanch 19 27.97
‘Slave (Ship) 34
‘Soke: A Sur Win Stony 27,118,128 130,
79
Sorgan (planet) 137179,198:barn 40;
baricade18;carty4: huts agri
farms 14,135, up kelvilage 6,
y8-nalandngsa:matheriqe tee
line rid us vilage 37. 14450-15%
Sorgavillge harlestonboards 149
spacestaton:chop shop 183.185;
speeder bikes 238,230,238driver
4u79
Spina Tom 166
Stanton, Andrew 97
‘Sa Wars(3977)19,227 ee dso A New
Hage; Sur Wars Episode IVA New
Hye)
‘Sr Wars Celebration 27
‘Su Wars Episode The Phantom Menace
129 (xe The Phantom Menace)
Sr Wars Episode Attack the Coes
12,27 97,124,129 (se also tad of
‘theChna)
Sr Wars Episode It Revenge ofthe Sth
9733,
‘Sta Wars Episode IVA New Hp 31.43.
44. 74,161,166, 190 (ee abo New
Hage, Sar Wirs|397)
‘Stu Wars Epivode V The Engi Sees
Buck 0 (ee abo The Empire Ses
Bac)
‘Sr Wars Episade Vi Raw he e37,
129 (wale Retmf thee)
Sur Wars Episode VI The Foe Awakens
70,323,250 (xe abo The Fore
Awakens)
Sw Wars Episode VI The Lat ai xe
The lasted)
‘Sy Wars Episode The Récf
SKyualler (se Star Wis The Rseof
‘SSyualler)
Star Wars:Galactic Staeruiser 97
Star Wars: Galarys Edge 67 19
TheStr Wien Holiday Special 24,31
‘Sh Wirs Reels 12,18 27,70, 123.150,
179,167,220
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ACKNOWLEDGMENTS
‘To George Lucas and Kathleen Kennedy; for laying the foundation upon
hallo this ie buil
To Jon Favreau, Dave Filoni, Doug Chiang, Carrie Beck, Christian
Alzmann, utch, Erik Tiemens, Brian Matyas, Tony McVey, and
Landis Fields, for being so generous with your time in telling your stories.
To Noah Kloor, Anjali lye, and Claudia Ramirez, for facilitating
icerviews with Jon and Dave
Eric Klopfer, Connor Leonard, Liam Flanagan, Mary O'Mara, Lisa
Silverman, and Denise LaCongo at Abrams Books and Robert Simpson
in Lucasfilm Publishing, for your continuous miracle work in editing and
assembling the Artof Sir Wins book serie
Mike Siglain and Troy Alders in Lucasilm Publishing: Pal.
Hidalgo, Leland Chee, Matt Martin, Emily Shkoukani, and Kelse
Inthe Lucasfilm Story Group; Tim Mapp, Gabrielle Levenson
LaCoutsiere, Bryce Pinks, and Erik Sanchez in Lucasfilms Asset Team
Tracy Cannobbio in Lucasfilm Publicity; and Zack Bunker and the enti
Atris Team,
To Genna Elkin, Jennifer Hyyu, and Madeleine Sandrolin in the
Lucasfilm art department
Kristin Baverin Lucasfilm Online Team, for your invaluable
honesty and support
Lastly to my family, Joseph, Barbara, Martin, David, Grace, and Le
Seostak, an friends, Lila Atchison, Sean and Sarah Dicken, Mike a
Lucy Bates, Matt Davis, Shawn Hunter, Chris Wales, and Tina Fossella
+ MANOO TIE VERSION 24. Church
chiang
44 ORASHEDTIE HIGH ANGLE VERSION OL Church
rer eee roe ae
junction with Star Was art departments since 2008.A graduate
‘of the School of Visual Arts in New York, Szostak ran the JAK
Films Art Departmenton Skywalker Ranch for more than three
yeats beforejoining the narrative design team on LucasAr’s
‘Star Wios:1313.He is also the author of The Art of Str Wis: The
ete Eee a aed
(Abrams, 2017), and The Art of Str Bhs: The Rise of Skywalker
eee a seas
Doug Chiang isan Academy Award®-winning artist, author, and
production designer. As creative director for Industral Light &
Magic, he served as visual effects art director of films such as
Terminator 2, The Mask, and Forrest Gump. n 1995, George Lucas
personally selected Chiang to serve as head of the Lucasfilm art
Pea ec eC ante ener as
left Lucasfilm in 2.002 to form his own design studio, eeBlink
Studios, Chiang returned to Lucasfilm in 2013 0 work on Star
Wis: The Force Awakens and currently serves as Lucasfilm VP and
‘executive creative director, He served as head of design on Star
TLE a
The Art of Star Wars : The Mandalorian
THE ORIGINAL DRAWINGS FOR THE GREATEST SPACE FANTASY EVER MADE!
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JOE JOHNSTON
BALLANTINE BOOKS + NEW YORK
Copyright 1977 by Twentieth Century-Fox Comoration
Al rights reserved under International and Pan-American tient Conventions.
Son ot Randorn
shod in tha United Siates by Ballantine Books, a division House, Inc.,
New York and simultangously In Canada by Ballantine Books of Canada, Lid., Toronto, Canada.
Crary of Congest aii Card Number: 77-88456
Manufactured in the United States of America
First Edition: September 1977
INTRODUCTION
Joe Johnston, who is responsible for these sketches of STAR WARS spacecraft models,
was initially hired as a storyboard artist in August 1975. In preparing storyboards of the
climactic space battle above the Death Star, Johnston drew and re-drew the X-wing
fighters, TIE fighters and other spacecraft which were the primary visuals for that
sequence. He was then asked to do the sketches which would serve as a guide to the
model builders.
Earlier, Colin Cantwell, who did much of the model work on 2007, had been hired to build
a series of prototype models. The Cantwell models were beautifully done and served as
a good foundation for several of the ships. As the script was altered, director George
Lucas decided that new spacecraft were necessary. Johnston, after discussions with
Lucas and Special Photographic Effects Supervisor John Dykstra, produced the
sketches for the Corellian pirateship and the Life Pod.
Johnston based his rendition of the Sandcrawler, which is the only landbound vehicle in
this collection, on one created by Ralph McQuarrie for a series of production paintings.
Johnston then elaborated on all of the vehicles, adding detailing which brought a certain
reality to them.
Steve Gawley was given the task of translating Johnston's sketches into workable
draftings from which the model shop, under the direction of Grant McCune, would build
the required total seventy-five models required for the film.
As the film went into production and the ships began to take solid form, all of the designs
underwent changes. John Dykstra might insist, for example, that an antenna was too
thin to photograph properly or a wing support had to be thickened to prevent vibration.
All of these considerations would be reflected in the final designs.
As soon as models were completed and approved, they were photographed from all
angles. These photographs were sent to John Barry, the set designer, who supervised
their full-scale construction at the EMI Studios in London.
Parallels can be found between STAR WARS and Lucas’ earlier film, American Graffiti,
in the close relationships of characters to their vehicles. “A bit of that comes through in
STAR WARS,” comments Johnston, “especially in Han Solo’s ship. The Corellian
pirateship is a highly modified freighter. George wanted it to look like it was souped-up
and the body was stripped down to make it faster. It was a big smuggler’s hot-rod
space-freighter.” As Johnston might add, quoting Han Solo, “and | made a few
modifications myself.”
CAROL WIKARSKA
DIRECTOR OF PUBLICATIONS
STAR WARS
MILGENNIDM FALCON
YWNG ATER 9» Sa
This schematic diagram shows (A) the size of the
Rebel Blockade Runner in relation to the Imperial Star
Destroyer; and (B) the sizes of the Sandcrawler, the
Millennium Falcon, the X-wing fighter, the Y-wing
fighter, and the TIE fighter in relation to the Rebel
Blockade Runner.
IMPERIAL STAR DESTROWER
The Star Destroyer is the Empire's top-of-the-line in mobile fighting ships. Heavily
armored and bristling with guns, the Star Destroyer is a floating fortress. This is
essentially Colin Cantwell’s concept, but the scale of the final version is several times
the size of the prototype. The Star Destroyer is the most minutely detailed of all the
ships. It is covered in tiny plates, many no larger than 1/16" square and .020” in
thickness. The Star Destroyer was built largely from one sketch, time prohibiting any
working drawings.
This page was Intentionally left blank.
This page was Intentionally left blank.
(The Princess’ Starship)
The Rebel Blockade Runner was originally the pirateship or Millennium Falcon, until it
was decided that a more unique shape should be used for the ship featured as Han
Solo’s vehicle. The Blockade Runner is a truly antiquated craft. Multiple fuel-burning
engines, Nemo-esque fins and a hammerhead cockpit suggest an era when spaceships
were commissioned and handcrafted. The Blockade Runner was the first ship to be
completed but was later stripped of paint and reworked for more detail.
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LIFE POD
A recognizable “space capsule” appearance best suited our needs for the Life Pod. The
pod was actually held suspended in a bay and dropped by electro-mechanical fingers
into a net 20 feet below, while being photographed at 85 frames per second. These
requirements dictated a smooth outer surface with no obstructions behind the central
waist for the claws to hang upon. The back end of the pod was hollowed out and the
front weighted to keep it nose-heavy and falling straight.
Page 17: Life Pod jettisoned from the Rebel Blockade Runner.
13
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SK WHOPPER
We get a brief glimpse of the Skyhopper in Luke’s garage. Since it is partially obscured
by a wall, this sketch is the first time many will see the total design. (Those who are very
observant may have noted the model of the plane Luke toyed with in this scene.) It was
intended to be a low-orbital spacecraft used by Luke to chase womp rats on his home
planet, Tatooine. Full usage of this vehicle was made impossible by the mounting costs
of the film.
lf such a plane were sitting in Luke's garage, why didn’t he use it, instead of the
landspeeder, when searching for his missing ‘droid, R2-D2? Because it was in the
garage being overhauled at the time.
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21
This page was Intentionally left blank.
THE SANDCRAWLER
The Sandcrawler is based on Ralph McQuarrie's design. Feeling the Jawa transport
should be high and awkward, lacking any form of beauty, grace or speed, in accordance
with the Jawa image, we adjusted the shapes accordingly. The tread portion was
designed in England and constructed full size in Tunisia. The miniatures matched the
finished product perfectly. Abundant rust and the remnants of an ancient paint job
completed the surface embellishment.
Page 24: The large door in front and steerable treads
were ultimately dropped.
Pages 25-7: The Sandcrawler miniature duplicates
the lower third from the full-size model on the set in
Tunisia, It utilized four stepping motors and radio
control.
23
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MILLENNIUM FALCON
The Falcon is a ship that has undergone severe modifications. It may have begun life as
a stock light utility freighter, but through a bit of chopping and channeling and addition of
a factory-unauthorized powerplant at the hands of Han Solo, ithas become a
dependable, ultralight-speed craft, perfectly suited to a smuggler’s needs. The
traditional saucer shape broke away from the even more familiar long and skinny look.
To give it direction, large angular mandibles and freight-loading arms were added to the
front. Protruding corridor tubes were covered with three-sided structures. The rear deck
and underside became a mass of pipes and ducting, feeding the oversized engines. An
offset cockpit and radar dish provided an asymmetric balance. The Fa/con was
creatively detailed in miniature and full size.
Pages 52-3: Various angles of the Millennium Pages 62-3: Scale drawings for correlation of model
Falcon. to full-size set in England.
Page 54: Full-size boarding ramp (Millennium Pages 64-5: Sketches for full-size and miniature
Falcon). cockpit. Miniature was equipped with fiber optic
Pages 55-8: Boarding ramp and door mechanisms —_@ashligh!s, screens and readouts.
on the original pirateship. Page 66: Sketch for gunport/mounting area on
Page 59: Landing-gear detail for full-size Millennium = '™ntature Millennium Falcon.
Falcon. Pages 67-71: Sketches for full-size and miniature
Pages 60-1: Various angles of the Millennium Falcon. patel of gunport and laser guns (Millennium
51
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71
This page was Intentionally left blank.
THE X-WING
The Rebel forces are not financially well off. The ships were conceivably acquired
decades earlier at a discount, and have been made to last through prudent, but
affectionate maintenance. Engines and body panels are scavenged from derelict craft.
Paint and polish being unaffordable luxuries, appearance is unimportant. The one
graphic consistency in the X-wing squadron is a large red horizontal stripe on the flank
of each ship. In addition to attaining the used-car look, the X-wing fighters took on a kind
of tough, no-nonsense quality through production changes. Engines were beefed up,
wings thickened. A lot of hardware is allowed to show on the surface, where it
complements the carefully finished body shapes, creating a feeling of styled
functionalism.
Pages 74-9: Early X-wing fighter concepts from
different angles. In the final version, upper and lower
split-circle engines became fully circular to
accommodate thicker wings, and a segmented
canopy replaced the “bubble’ canopy to eliminate
reflection problems.
Pages 80-1: Full-size version of cockpit targeting
device.
73
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74
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X-WING FIGHTER , WINGS IN
LANDNG/ TAKE-OFF ~Mope.
75
76
X-WNG FIAMER (ucsep R-Z UNIT)
77
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THE Y-WING FIGHTER
The Y-wing fighters make up the other half of the Rebel armada. It is almost an
exaggeration of the idea of combining styling and function and is one of the most visually
exciting ships in the film. The smooth “Grand Prix Car” shapes of the protruding pilot
pod end abruptly in a mechanic's nightmare of engine and wing assembly. Conceptually,
the slick body shell once covered the length of the craft until Rebel mechanics, tired of
frequent breakdowns, simply left the “hood” off. The Y-wing has been hot-rodded and
stripped down to fighting weight.
Pages 84-9: Early sketches of Y-wing fighters. From
first prototype through design and re-design to final version,
the Y-wing changed very little, aside from a scaledown
from two-man to one-man.
83
Ad
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This page was Intentionally left blank.
THE (Twin lon Engined) FIGHTER
The Imperial fighters needed, above all, a very sinister look. Having technologically
advanced forms of propulsion, almost any basic shape was feasible. The idea of
combining large geometric shapes works quite well to lend an alien look. Joining these
shapes are angular, sharp-edged support structures, steel buttresses reaching out and
gripping tubes. The overall effect is one of gothic evil, as if the Empire fully intended this
to be a terrifying psychological weapon. Hitler's Stuka Dive Bomber used an artificially
created banshee wail to strike terror into its victims. The fighter achieves the same effect
with a coldly sinister appearance. Vader's personal ship is a variation of the basic TIE
theme. It is, in essence, “next year’s model” — faster, sleeker, and almost bat-like with its
angled-in wings.
Page 93: Concept sketch for a boarding craft
which was written out of the script. The wing
configuration was later used in Vader's ship.
Pages 94-5: Front and rear views — TIE fighter.
This was the only ship that was built exactly as
sketched.
Page 96: Darth Vader's TIE fighter.
91
This page was Intentionally left blank.
93
|B BOARDING CRAFT
| f fer | |
“TWIN - ION - ENGINEZ Oe) FIGHTER.
FRONT
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95
THIS WAS THE BEGINNING OF THE
MOSTPOWERFUL, FANTASTIC, MIND-BOGGLING
SIGHTS EVER PLT ON FILM!
SKETCHBOOK
Shows how the incredible e juipment NES developed.
Here, in their early stages are:
THE DEATH STAR e THE MILLENNIUM FALCON
THE LIFE POD e THE TIE FIGHTER e THE SANDCRAWLER @ THE X-WING FIGHTER
THE REBEL BLOCKADE RUNNER e@ THE Y-WING FIGHTER
THE IMPERIAL STAR DESTROYER
“MAY THE FORCE BE WITH WOU...” oe
The Star Wars Sketchbook
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