Sunday 29 November 2020

Halo 2: Anniversary

AD 2552. The Master Chief has destroyed Halo and saved the galaxy from annihilation. Unfortunately, the Covenant have located Earth and launched an assault on the planet. As Master Chief helps in the defence, far across the galaxy, the Covenant commander who led the mission to Halo has been disgraced and dishonoured. However, he is offered the chance to regain his honour by becoming an Arbiter and leading a new a second Halo installation.

The original Halo was a frustrating first-person shooter: excellent outdoor environments and solid combat let down by stodgy pacing and exceptionally poor level design. The game has not aged well and, after my experiences earlier this year with a solid but not particularly exciting Halo: Reach, made me wonder if this was one franchise that is not for me.

Halo 2, fortunately, is a hugely superior game to its forebear. It has a great deal of mission variety, as the game follows Master Chief fighting Covenant forces in New Mombasa and the Arbiter fighting the Flood on a second Halo. The game's combat has been dramatically improved, with an elimination of the original game's endlessly copy-pasted rooms and replacing them with more dynamic combat areas. You can now dual-wield weapons (at the cost of not being able to easily melee or use grenades), allowing some excellent weapon combo tactics (using a weapon that's good against shields in one hand versus one good against armour in the other, or combining human and Covenant weapons together). There's a greater variety in enemy unit types, and more missions where allies help you out.

This is backed up by a much more involved storyline, taking in the Covenant's religious beliefs, their internal politics (including ostracising one member race and a resulting civil conflict) and the interaction between the Covenant, humanity and the Flood.

The Flood also return and are also improved beyond their Halo: Combat Evolved appearance, with them being far less annoying and more entertaining to fight. Giving the Flood a voice and intelligence to reason with is a bit of a misstep though, removing much of their formerly implacable, unreasoning menace (the same problem with the Borg in Star Trek).

Missions alternate (more or less) between Master Chief and the Arbiter and this gives rise to a reasonable amount of variety in gameplay. Keith David is particularly noteworthy of praise for his performance as the Arbiter and helps the player get invested in his story.

There are considerable improvements over the original Halo that make this sequel far more worthy, although a few weaknesses remain. Vehicle handling remains problematic (Banshees getting caught on scenery and flipped around is irritating), and friendly AI is decidedly weak. On several missions the friendly AI just switched off, leaving my allies standing around completely oblivious as they were gunned down by enemies. The new enemy types are mostly challenging, but the Brutes are annoying, being just massive sponges which take an immense amount of firepower to bring down and are not very fun to fight.

Also bewildering is the game's ending. Infamously, Bungie had to terminate Halo 2's development for time reasons, leaving the game not so much on a cliffhanger as just interrupted mid-flow. The Arbiter's story arc does get a satisfying conclusion but Master Chief's does not and his story is left bewilderingly hanging. Obviously this isn't so much a problem now when you can proceed immediately into Halo 3, but I can only imagine the rage that took place when the game originally came out fifteen years ago.

Otherwise, Halo 2 (****) is an enjoyable, well-judged first-person shooter with a good balance between action and storytelling. The game is available now on X-Box One and PC as part of The Master Chief Collection, which also includes a remastered version of Halo: Combat Evolved and graphically-updated versions of Halo 3, Halo 3: ODST, Halo: Reach and Halo 4.

RIP David Prowse

David Prowse, the actor who originated the role of Darth Vader in the Star Wars films, has sadly passed away at the age of 85.

Born in Bristol in 1935, Prowse attended Bristol Grammar School. Due to his unusual height (6 ft 6), he secured a job as a bouncer at a dance hall in the 1950s. He took up bodybuilding as a hobby and became the British Heavyweight Weightlifting Champion from 1962 to 1964. He represented England in the Commonwealth Games in 1962.

Prowse's imposing size and public profile as a sportsman caught the attention of casting directors. He made his screen debut in the 1967 James Bond spoof Casino Royale, appearing as Frankenstein's Monster in a hallucination sequence. He reprised the role of Frankenstein's Monster in The Horror of Frankenstein (1970) and Frankenstein and the Monster from Hell (1974). In 1971 he was cast as Julian in the film A Clockwork Orange by Stanley Kubrick.

Additional roles followed on TV and film, with Prowse appearing in Carry On Henry (1971), part of British cinema's most successful comedy franchise, as well as long-running science fiction series Doctor Who (in 1973, playing a minotaur in the serial The Time Monster). In 1975 Prowse appeared as UK children's road safety warden - a "lollipop man" - in a road safety campaign for the Green Cross Code. He was continue in this role in different TV and poster campaigns for the next twenty years.

Prowse was cast in the role of Darth Vader in Star Wars (1977) by George Lucas, who remembered his imposing stature from A Clockwork Orange. Prowse was clad in the iconic black armour in this role. He also provided the voice for the character on set, but Lucas and the other cast and crew - who nicknamed him "Darth Farmer" - decided his strong West Country accent was not suitable for the imposing role of Vader. To Prowse's disappointment, his voice was replaced by that of James Earl Jones in the finished film.

The role immediately made Prowse very famous. Amusingly, he became one of the first people to propose that Vader was actually Luke Skywalker's father at a fan convention in 1978, something that apparently irked Lucas (although he hadn't finalised that idea himself yet) although Prowse had been joking around and, according to producer Gary Kurtz, "made a very good guess." Prowse reprised the role of Vader in The Empire Strikes Back (1980) and Return of the Jedi (1983) but his poor swordsman skills saw him replaced during the lightsabre duels by sword trainer and choreographer Bob Anderson. Anderson's shorter stature explains why Vader appears hunched over in some of the duel scenes. Prowse did get back in the costume for the scene where Vader picks up the Emperor and hurls him to his death, since Anderson lacked the stature and strength necessary to do so. Prowse was again annoyed to find himself replaced by another actor - Sebastian Shaw - for the sequence where Vader removes his helmet and his true appearance is exposed for the first time.

Prowse continued to do the Star Wars convention circuit, but his well-known grumbling over his sidelining in the original trilogy, being cut out of residual payments for Return of the Jedi due to "Hollywood accounting" and his immense dislike of the prequel trilogy, saw George Lucas ban him from attending official conventions in 2010. Because of these complaints, and advancing age, Prowse was not asked to reprise the role of Darth Vader in either Revenge of the Sith (2005) or Rogue One (2016).

Prowse continued to act and in 1981 appeared in the BBC mini-series version of The Hitch-Hiker's Guide to the Galaxy, appearing as a gangster's bodyguard in which he got to use his actual face and voice to menacing effect. He appeared several times in Star Wars documentaries and reunion films. In 2000 he was made an MBE for his services to charity and road safety. 

In 2001 he was diagnosed with septic arthritis and underwent surgery to help minimise the problem. He became an advocate for arthritis charities in the UK. In 2009 he was diagnosed with prostate cancer, underwent radiation therapy and was declared in remission in relatively short order.

Prowse announced his retirement from acting and public appearances in 2016, due to age and health issues. He passed away yesterday, with Mark Hamill (Luke Skywalker) among those paying tribute.

As the "man in the suit" of Darth Vader, Prowse helped create the most iconic SF villain of all time. He will be missed.

Saturday 28 November 2020

Out of the Blue: An Orphan Black Retrospective

A young woman, Sarah, returns home to Toronto after almost a year away. Her plan is to pick up her daughter, Kira, from her stepmother Siobhan and use the gains from an ill-gotten coke deal to set up a new life for herself, her daughter and her arty stepbrother, Felix.

This plan is almost instantly derailed: at the station Sarah sees a woman who is her exact double suddenly jump in front of a train, being killed instantly. Sarah is horrified but also sees an opportunity. She takes the woman’s bag, phone and possessions, finds out where she lives and pretends to be her so she can empty her bank account. She learns the woman’s name is Beth Childs and she’s a police officer under investigation for accidentally shooting a civilian. Unfortunately, Sarah gets in over her head: she is forced to pretend to be Beth at work (despite having zero idea how police officers operate) and with Beth’s boyfriend Paul, and, to explain the body on the tracks, has to set up Beth as Sarah, making it look like Sarah herself is dead.

It’s complicated set-up and morass of double lives and identities. And that’s before Sarah finds out she’s really one of at least two dozen clones from an illegal 1980s experiment that went awry.

Orphan Black ran for fifty episodes across five seasons, airing from 2013 to 2017 on BBC America. It was critically well-received but relatively little-watched at the time, with very low viewing figures. Its critical cachet was considerably greater than its modest profile due to the performance of lead actress Tatiana Maslany, who played not just the main character of Sarah Manning but a dozen other roles across the course of the series (including voicing a hallucinatory scorpion). Maslany’s jaw-dropping performance saw her nominated three times for a Best Actress Emmy Award, winning once in 2016. The show also won a Peabody Award and a Hugo Award. Since its original airing, the show has been released internationally on Netflix and picked up many more appreciators.

Despite its acclaim, Orphan Black seems to have fallen out of favour pretty quickly. It rated mentions only on a few “Best Shows of the Decade” lists that appeared last year, and its status as the “little Canadian show that could!” feels like it’s been gazumped by sitcom Schitt’s Creek (not that it’s a competition, and Schitt’s Creek is also an excellent show). Rewatching the show in full for this article, it feels like Orphan Black has been a little undersold and underrated, especially as it’s a series whose original issues have largely been fixed by being able to watch the whole run now in one go.

Orphan Black’s overwhelming strength is its characters. Tatiana Maslany obviously has the heavy lifting to do here, playing the regular roles of not just British punk rebel Sarah Manning but also suburban housewife Alison Hendrix, genius scientist Cosima Niehaus, cool businesswoman Rachel Duncan and Ukrainian serial killer Helena. Later seasons add Swedish hacker Mika and nail technician and would-be social media influencer Krystal Goderitch, whilst cop Beth Childs appears a lot in flashbacks and video footage. Maslany’s ability to make each and every single character a fully fleshed-out individual, completely different from the others, is absolutely amazing. The complexity is increased when she has to appear in scenes with one clone impersonating another. From a technical standpoint, there are also multiple scenes with two, three or four clones interacting with one another (including a dance party in Season 2 and a dinner scene in Season 3), which required the use of cutting-edge effects techniques when the old greenscreen standbys were found to be inadequate. The combination of technology and performance delivers the very nearly flawless illusion of this one actress playing multiple characters.

Orphan Black probably doesn’t get enough love for its other castmembers, though. Jordan Gavaris plays Sarah’s stepbrother Felix, an artist, occasional rent-boy and one-man emotional support for the clones, to the point of putting his own life on hold (which becomes a source of anguish for him in the last two seasons, where he goes looking for his own biological family). I’m genuinely surprised Gavaris hasn’t had a bigger career, since he plays Felix with conviction, humour and steely resolve. Felix also has a nice line in metacommentary, frequently saying the exact thing the audience is thinking in any given moment. Perennial Canadian guest star Kevin Hanchard is also outstanding as Detective Art Bell, a genuinely good man whom Sarah is forced to lie to (by pretending to be his deceased partner, Beth) and who always tries to do the right thing even as the morality of the situations he finds himself in becomes murkier.

Particularly impressive is Maria Doyle Kennedy as Siobhan or “Mrs. S”, Felix and Sarah’s Irish stepmother and the unquestioned matriarch of their family unit. Her role is small to start with but later expands dramatically as she uses her network of contacts in Canada, the US, the UK and Ireland to help the clones. The same is true of Skyler Wexler as Sarah’s daughter Kira, who starts off with not much to do but Wexler’s impressive acting skills for such a young age make her a key player in later seasons.

Kristian Bruun plays Donnie Hendrix, Alison’s husband (Alison is the only one of the Clone Club to be married). Frequently played for laughs (such as when he and Felix have to pose as prospective gay parents when they go undercover in a fertility clinic), Donnie does have a greater dramatic role as the show proceeds. Keen board gamer Josh Vokey as Scott, Cosima’s partner-in-science-crime, is also an underrated key part of the ensemble. Évelyne Brochu is also outstanding as Cosima’s French girlfriend Delphine and the source of much of what Felix refers to as the show’s “lesbian drama,” who also can’t help but wear the most fabulous outfits on the show. Ari Millen is also great as a second set of clones, playing multiple roles. They’re not as numerous as Sarah’s doubles, but Millen does impressive work depicting very different characters.

The show also brings in genre veterans where necessary: Michelle Forbes (Star Trek, Battlestar Galactica, True Blood) has a brief but memorable role in the second season, Matt Frewer (Max Headroom, The Stand) is outstanding as recurring semi-antagonist Dr. Leekie and James Frain (The Tudors, Star Trek: Discovery) is deliciously evil as assassin Ferdinand. Also, special mention must be given to Alison Steadman, a British veteran of film, stage and television, cast slightly against type as Siobhan’s chain-smoking, permanently angry mother in the third and fourth seasons.

So, the cast, beyond just star Maslany, is outstanding. Where Orphan Black does trip up a little, and this is the most frequent criticism voiced about the show, is its storyline.

The main problem with the story is that it’s never quite original enough. As soon as it becomes clear that Sarah is a clone (by the end of the second episode, so this is hardly a spoiler), the viewer’s immediate assumption is that this is an illegal genetic experiment which has been overseen by a powerful corporation with government involvement…and that’s what it turns out to be. If there’s one set of clones, the logical conclusion is that there might be more, and perhaps a set of male clones as well; this is confirmed in the second season. If they’re all clones, they must be clones of a genetic original who will be important to the plot, and that turns out to be the case in the third season. Orphan Black never really sets itself up to do anything surprising in general terms with the plot. Anyone who’s passingly familiar with contemporary science fiction shows from The X-Files onwards will likely be able to see most of the major plot movements coming down the road.

That is certainly all true, but in general terms I found it not to matter very much. Execution is more important than surprises and Orphan Black tells its story of shady corporate operations, illegal genetic experiments and complex backstory revelations with confidence and verve. The plot twists are logical, the character arcs are well-judged and the show’s trademark fast pace makes it perfect for bingeing. Cliffhangers abound and, if characters are in a difficult spot, you can be assured that situation will be resolved quite quickly rather than allowed to fester on for many episodes at a time. The show’s relentless pace can sometimes be a problem (maybe a bit more time to stop and smell the roses would have been nice) but, in a sea of other series with plot elements advancing so glacially they can only be measured in ice ages, it helps Orphan Black stand out from the crowd. This is a show that knows how to set up, execute and resolve a story arc with brisk economy.

That said, the economy of storytelling does lead to repetition. The main enemy in the first two seasons is the Dyad Institute and their backers, an ideological cause known as “Neolution.” After Dyad falls from grace, Neolution becomes the primary foe of the third through fifth seasons, first through subsidiary organisations (Project Castor and BrightBorn Industries in the third and fourth seasons) and then the Neolutionists directly in the final season. There are also other enemies, such as the Prolethean religious cult, and various criminals and gangs. It has to be said that the show probably should have focused on one enemy more than bringing in lots of subsidiaries which end up just being variations on a theme.

Far more critical to Orphan Black’s success is its mastery of tonal variation. Each one of the clones has their own personal storyline as well as playing a part in the larger storyline and each one of these could easily be a TV show by themselves. Donnie and Alison’s façade of suburban bliss, soccer games with the kids and Tupperware parties hides a darker story of pill addiction, marital boredom and frustration that veers into drug dealing, murder, mayhem and an increasingly large number of dead bodies buried under the garage. It’s by turns genuinely disturbing, laugh-out-loud hilarious and at times gag-inducing. However, the show can then turn on a dime and delve deeply into Cosima and Delphine’s overwrought, tragic love story of woe, which teeters on the edge of outright cliché (not helped by Felix pretty much narrating this story from the sidelines with morbid fascination) before being brought back down to Earth. The Cosima-Delphine romance is arguably the most compelling in the show and, thankfully, the producers have the sense not to lean on the “kill your gays,” trope that too many shows have indulged in.

Elsewhere we have the story of Helena, the innocent young Catholic girl turned into a homicidal weapon of mass destruction by a deranged religious group that believes all clones must be destroyed. Helena, a deeply damaged individual who serves as something of a villain for the first season, eventually overcomes her “training” and joins forces with Sarah and her other “sestras” to defeat their enemies and even declares a maternal ambition (Maslany's faux-Ukrainian-accented proclamation of "What about my babies?" soon becomes a key catchphrase). Helena’s story arc is one of the most successful in the show, even if the fact she did kill several innocent people in the first few episodes of the series is brushed under the carpet a little too easily.

There are too many other stories to really relate all of them in detail: Sarah’s own insecurities and in particular her feelings of guilt and inadequacy which forces her to slam the “self-destruct” button whenever anything goes too badly wrong (or too badly right, in some cases). Dealing with the clone situation gives her purpose and sees her direct her creativity, spontaneity and capacity for invention and thinking on her feet in a productive manner, but at several key moments she does nearly fall off the wagon and spiral back into depression, alcohol and substance abuse because, hell, the situations she puts herself in are quite hairy, and traumatic. Then there’s the tragic story of Beth Childs, which the writers leave until the final two seasons, where we see her backstory in detail and discover what led her to taking her own life in the opening seconds of the show. For a show that only lasts fifty episodes (less than a quarter the run of The X-Files), Orphan Black packs a hell of a lot of story into its modest run-time.

This balancing of tonal variation, of sometimes going from laugh-out-loud, warm-hearted comedy to something bleaker and more depressing, or romantic, or action-based, in the space of a few minutes is a key part of the show’s success. If Orphan Black was too funny or too bleak constantly it wouldn’t work, but by moving between these tones and styles, to the point of sometimes feeling like an anthology series, it creates a much richer story and world. Orphan Black knows when to be harsh and brutal, but also when to be warm and funny.

The show has a few other weaknesses. It has a problem holding onto guest stars. Michael Mando has a major role in the first two seasons and then vanishes without trace (in reality, poached by Better Call Saul). Michelle Forbes’ character is set up as a big deal in the second season, but she doesn’t appear again. Similarly, Michiel Huisman appeared in the second season in a major role and came back briefly in the third year, but he was nabbed by Game of Thrones (playing flamboyant mercenary Daario) and never appeared again, leaving some storylines flapping in the wind. This even extended to more core castmembers, with Évelyne Brochu contracted to appear in another show in the third season (which didn’t go the distance, allowing her to return later on). These problems are annoying but bearable; the show is always able to course-correct and carry on. The show also did the reverse: it brought back characters who’d apparently left behind for good to show how everything was connected and to make sure most of the loose ends were tied up in the finale.

The theme of Orphan Black is probably one of the oldest in narration: family. As the literal orphans of the title, the clones have no real biological families. Several of them have loving, adopted families (like Sarah, Cosima and Alison, and Rachel to an extent) but several of them were raised in much harsher circumstances (most notably Helena). As they uncover the mystery of their background, they form a tight unit and create a new extended family consisting of the clones, their friends and allies. This “clone club” bands together to defeat their problems and support one another through their individual issues. The impact of this is shown most clearly on Sarah, the staunch, punk-inspired loner who needs no one’s help and initially feels a failure as a mother, who finds then herself becoming almost the matriarch of a large, complex family of people who need help and support.

Orphan Black feels under-appreciated, but it’s a good time to revisit the show. Its web of complex conspiracies between various corporations felt a bit much during its original run, but watched as a whole it’s much more comprehensible. The character arcs and main storyline are executed reasonably well, and at fifty 44-minute episodes, it doesn’t go on for too long and outstay its welcome, but it’s also not too short and cut down in its prime. It tells a five-year story well and once it’s done, it moves on.

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Modiphius tease new DUNE RPG and artwork for early 2021 release

Modiphius have been teasing their new Dune tabletop roleplaying game with a reveal of some of the artwork and confirming that they will start taking pre-orders next month.

Dune: Adventures in the Imperium utilises the 2d20 rule system that Modiphius have used for their Age of Conan, Dishonored and Star Trek RPGs, among others. The base setting is some years before the events of Dune, with the players and Gamesmaster working together to create a new noble House of the Landsraad, which the players can guide through political intrigue as well as representing its interests through agents who have to go on clandestine missions to distant worlds, including Arrakis.

The core Adventures in the Imperium rulebook will be available as a standard game and also a choice of one of three deluxe editions, with a special cover reflecting the sigil of House Atreides, House Corrino or House Harkonnen. There will be two dice sets available for the game, as well as a Gamemaster Screen and a Player's Journal to record adventure notes in. Further expansions to the game are in the planning stages.

Dune: Adventures in the Imperium is anticipated to be released in early 2021. Modiphius are also currently working on Fallout and Homeworld RPGs using the 2d20 system (the former separate to their Fallout: Wasteland Warfare miniatures range). There are also rumours that Modiphius are planning an Elder Scrolls roleplaying game to accompany their Call to Arms miniatures range.

Friday 27 November 2020

Star Trek: Deep Space Nine - Season 2

2370. The Federation's attempts to help the planet Bajor recover from Cardassian occupation are strained when civil war threatens the planet and religious turmoil surrounds the election of a new spiritual leader. Whilst Commander Sisko and his crew attempt to navigate through tricky waters, a new Federation-Cardassian treaty has left colony worlds of each power in earth other's space, resulting in the rise of new tensions and a freedom fighting group, the Maquis. Meanwhile, the exploration of the Gamma Quadrant beyond the wormhole proceeds apace and the Ferengi become the first power to forge trading alliances with worlds there...only to learn of the existence of something called "the Dominion," which is not happy about the influx of new traffic into their space.

The first season of Deep Space Nine was reasonably entertaining, if not the most exciting collection of episodes in the franchise's history. The writers didn't seem entirely sure on the new show's tone and direction to start with and relied a little too heavily on bringing in Next Generation characters and ideas. Towards the end of the season, however, they decided to focus more on their own characters and premise, resulting in several excellent episodes (especially Duet).

Season 2 opens with the same confidence in their own skills on full display. For the first time ever in Star Trek's history, the season launches with a three-part story that delves deep into Bajoran politics and conflicts. It's a great story that uses the show's recurring cast - Dukat, Winn, Bareil - to best effect, but it's also a solid worldbuilding exercise for Bajor and has some great action beats (even if an atmospheric dogfight between Bajoran fighters is a little too ambitious for the effects technology at this point). It also has a very impressive main guest star in Frank Langella (Frost/Nixon), who makes for a formidable antagonist.

The season has more than a few great episodes: Cardassians, The Wire, The Collaborator and Tribunal feature solid stories about the Occupation and its aftermath, providing great acting opportunities for the regular and recurring cast. Particularly, Andrew Robinson's Garak goes to incredible strengths and becomes arguably the best actor on the show, although he's given a run for his money by the likes of Marc Alaimo, Louise Fletcher, Nana Visitor and Rene Auberjonois.

Also outstanding is Sanctuary, where the Bajorans have to grapple with ethics and morality when they are asked to help a race which has suffered as much as they have. Whispers is an excellent character piece, focused entirely on O'Brien as the world around him goes strange and he has no idea what's going on. Armageddon Game is a great show about politics and perception, furthering the Bashir/O'Brien bromance in the process. Profit and Loss is a great Quark show, depicting more sides to the character than previously seen (as well as Garak). Blood Oath is an exceptional episode bringing back three key Klingon characters and actors from the original series in an action piece that also demonstrates Dax's involvement with the Klingon Empire (foreshadowing the later arrival of Worf). The Maquis is a great two-parter about how signing a peace of paper doesn't magically solve problems on the ground. Crossover begins the show's long-running flirtation with the Mirror Universe, featuring some great alternate roles for the actors to inhabit (Nana Visitor in particular).

The outstanding, best episode of the season is Necessary Evil, a lengthy flashback episode to the station's days under Cardassian occupation, where rejected scientific curiosity Odo is forced against his will by Gul Dukat to conduct a murder investigation. It's a moody, terrifically-written piece which sees the station's sets adjusted in a manner that makes them hellish and sees amazing performances by everyone involved. It also explains why Odo was allowed to retain his job on the station and why more than a few Bajorans (particularly Kira) are prepared to stand up for him despite him being, on the surface, a collaborator or at least an enabler of the Cardassian regime.

Rules of Acquisition is a solid Ferengi episode and marks the beginning of Deep Space Nine's long-running project to redeem the species. The "lol, misogyny" aspect of their Next Generation appearances starts its long road to being discarded here, and it's amusing to note in retrospect that it's one of Star Trek's most underrated races which first becomes aware of the Dominion, who will come to dominate almost the rest of the show's run. 

Other episodes have strong central ideas but don't really take off: Invasive Procedures wants to be a deep-rooted Trill drama about stealing Dax's symbiont, but can't really do the idea justice. Melora wants to say something about disability, but because the main character's disability is self-chosen and temporary, it doesn't really track. Second Sight wants to be a love story for Sisko, but goes off in a very weird "Star Trek hallucination...or is it?" direction that becomes a bit tedious. The Alternate starts off as a welcome piece of backstory exploration for Odo, as we meet the Bajoran scientist who raised him, but the episode refuses to make him really culpable for the pain he inflicted on Odo in his experiments and then goes off on a completely wild monster hunt tangent that feels incongruous at best. Paradise is a very interesting "back to basics" story about a Federation colony that has reverted to a hunter-gatherer level, but what seems to be an idyllic existence is rapidly exposed as a tyranny. This feels like DS9's first brush with dealing with oppression and bigotry (especially the scene of forcing Sisko into a punishment box), but it never really gets to grips with what it wants to say, especially compared to later episodes like Far Beyond the Stars.

There are a few more episodes that fit into the "okay" category: Rivals has promising ideas about a rival to Quark from the same species as TNG's Guinan who uses his powers for personal gain, but gets mixed up with alien devices that alter the laws of probability (possibly inspired by The Hitch-Hiker's Guide to the Galaxy). The episode is entertaining, but doesn't make the most of either possibility. Shadowplay is a nice mystery story about a village whose people are disappearing one-by-one. The resolution is quite good and there a nice subplot about Odo bonding with a young child, but it's not the most dynamic of episodes. Playing God has the DS9 crew confront one of the most serious threats in the entire history of Star Trek and resolving it in one of the most bafflingly off-hand ways possible.

The season ends on a very strong note. The Jem'Hadar properly introduces the Dominion and two of its three main powers, the Vorta and Jem'Hadar. It also has an outstanding space battle as DS9's runabouts and the Galaxy-class USS Odyssey join forces to take on a Jem'Hadar attack fleet, with decidedly mixed results. Amongst the explosions, the episode is also terrific for Quark taking Sisko and his stereotypical view of the Ferengi to task (the moment that Sisko realises is right and he has developed almost racist views of the Ferengi is quite impressive, well-handled by Avery Brooks and Armin Shimerman). The only downside to the episode is that the Dominion's position - they don't want people pouring into their space and colonising planets without their permission - seems quite reasonable and the Federation's response, that they're going to keep exploring the Gamma Quadrant regardless, feels off.

The second season of Star Trek: Deep Space Nine (****) shows significant improvement over the first season. The show is still not operating at the height of its potential but it's making solid progress to getting there. The series is available on DVD in the USA and UK, as well as on CBS All Access in the States and Netflix in the UK.

Note: I previously reviewed DS9's second season as part of a wider review of the first two seasons twelve years ago. That review can be read here.

Thursday 26 November 2020

Gale Force Nine Games sues Wizards of the Coast

Gale Force Nine Games has sued Wizards of the Coast for breach of contract, following Wizards' attempt to terminate a previously-agreed contract a year early.

Gale Force Nine and Wizards of the Coast entered into four-year agreement in 2017 for GFN to provide overseas and foreign translations for WotC's Dungeons and Dragons RPG products in several overseas markets. GFN worked with localisation staff in each territory to produce a translated version of each product, which WotC then approved and was then published.

This contract was originally due to expire in February 2021 but was extended to the end of December 2021.

In May 2020, WotC contacted GFN to ask to terminate the contract one year earlier than planned. However, GFN had already begun work on projects due to be published after that period but which had been previously agreed upon, at considerable expense. Some discussions were held on a way of reconciling the issue, but when WotC proved inflexible GFN simply informed them they would abide by the original terms of the contract. However, since then WotC have refused to issue approval for completed products in line with the 2017 contract.

Once GFN made clear its intention to enforce the contract, WotC informed GFN they were in breach of contract by publishing two sub-par works in overseas markets, one in South Korea and one in France. However, GFN notes that both products had been authorised and passed the approval process. WotC also believed that the French translated work had been used in a copyright-infringing manner, but had declined to pursue legal action against the company involved. 

Gale Force Nine are seeking damages of $950,000 from WotC for their failure to fulfil their contractual obligations.

This is the second major lawsuit that Wizards have found themselves receiving in as many months. Last month, Dragonlance authors Margaret Weis and Tracy Hickman sued Wizards for $10 million for breach of contract after summarily suspending work on a new Dragonlance novel trilogy.

Joss Whedon steps down as showrunner of HBO's THE NEVERS

Joss Whedon has stepped down as showrunner of HBO's upcoming historical fantasy series The Nevers. Whedon cites the workload and schedule conflicts brought about by delays to filming caused by the ongoing coronavirus pandemic.

Whedon made his name in the 1990s as a writer on Roseanne and working on Hollywood movies including Toy Story, Twister and Alien: Resurrection, as well as his own original property Buffy the Vampire Slayer. Frustrated with how his scripts were constantly being changed by other people, he jumped at the chance to revamp Buffy as a TV series. The series aired between 1997 and 2003 and spawned a nearly-as-successful spin-off, Angel, which aired from 1999 to 2003. Whedon also produced the TV shows Firefly (2002) and Dollhouse (2009-10), along with a Firefly feature film spin-off, Serenity (2005), which marked his feature film writing/directing debut. Whedon also wrote and directed The Avengers (2012) and The Avengers: Age of Ultron (2015) for Marvel and Disney, as well as helping develop and launch the TV series Agents of SHIELD (2013-20). He also took over production of the film Justice League (2017) when director Zack Snyder had to step down following a family tragedy. The Nevers would have marked the first TV show he had completely helmed from start to finish in more than a decade.

Although Whedon cites other reasons for leaving, many commentators will be sceptical of his claims. In 2017, Whedon's ex-wife accused him of cheating on her with at least one and possibly more actresses in some of the shows he worked on, although specific accusations were not made. The news rocked Whedon's fanbase, which had previously praised him for his depiction of female empowerment in his work (although other critics had long held some of Whedon's writing to be problematic, particularly in Dollhouse and his alleged sidelining and then firing of actress Charisma Carpenter from Angel for becoming pregnant). The largest Whedon fansite shut down and his fans have been divided ever since.

In 2020 Whedon was accused of bullying and unacceptable behaviour on the set of Justice League by actor Ray Fisher. Initially Fisher's comments were not substantiated by other actors, but then Jason Momoa stepped forwards to back Fisher. Warner Brothers launched an investigation of Whedon's behaviour during production. Warner Brothers own HBO, meaning that this investigation would certainly have a bearing on Whedon's involvement on The Nevers.

The Nevers began shooting in July 2019 and completed production of five episodes prior to being shut down by the pandemic in March 2020. Filming resumed in September and was completed at the end of October. However, post-production and editing has only been partially completed.

Whedon's long-term writing and producing partners Jane Espenson and Douglas Petrie are also working on the show, along with Game of Thrones producer Bernadette Caulfield. It is assumed they will take over showrunner duties during the post-production phase and new plans will be made if HBO decides to renew the show for a second season.

Currently The Nevers is tentatively planned to air in the summer of 2021.

Wednesday 25 November 2020

Halo: Combat Evolved Anniversary

AD 2552. The Pillar of Autumn, a United Nations Space Command capital ship, is fleeing the fall of the human colony world of Reach to the Covenant, a hostile alliance of alien races. The Pillar has tracked Covenant intelligence leading to a remote star system. Upon arrival they find a massive ring, ten thousand kilometres across, with a habitable biosphere. Crippled in combat, the Pillar sets down on the object and it's up to the only specially-trained Spartan soldier on board, the Master Chief, to discern the origins of Halo and why the Covenant hold it in such reverence.

Halo: Combat Evolved was originally released in 2001 as the signature game of the original Microsoft X-Box game console, as well as the first game in the expansive Halo franchise, which has expanded to seven main-series games, three major spin-offs and numerous novels and comic books, as well as an upcoming TV series. It's always been an interesting anomaly that such an enormously popular franchise has expanded from such mixed beginnings.

This Anniversary Edition of Halo was released in 2011 to celebrate the franchise's tenth anniversary and was re-released in 2020 as part of the Halo Master Chief Collection on PC. Remasters of this kind are always controversial, since they sometimes alter and adjust the original game's level design and aesthetic. To be frank, in the case of Halo, I was looking forwards to some changes to the game's design, which have not only aged well, but were pretty poor going even in 2001. Alas, the remaster has stuck extremely close to the original game design, replicating its flaws as well as its strengths.

On the plus side of things, Halo has some very nice environments. The first third or so of the ten-hour game features entertaining outdoors combat on islands, in valleys and on grasslands, sometimes featuring vehicles with multiple crewing points and some pretty solid friendly AI. This is easily the best part of the game and, combined with the game's robustly entertaining multiplayer mode and some very strong multiplayer maps, is where the game's reputation mostly comes from. The graphics for this part of the game have been updated nicely, particularly the vast vistas showing Halo's interior structure rising up in the distance and then up overhead. Combat is reasonably solid and the Covenant enemies are reasonably intelligent and challenging (even if the monkey-like, comedic Grunts are far more irritating than genuinely threatening, but the Elites and Jackals make up for them).

In terms of the campaign mode, this enjoyable part of the game is sadly brief. After the opening levels you have to descend into the bowels of Halo and the game never really recovers after this point. The subterranean levels are mind-bogglingly repetitive on a scale that, over the years, I'd come to believe I had exaggerated in my mind. Replaying the game I discovered that no only had I not exaggerated them, I'd undersold them. You spend hour after hour making your way through identical rooms to flip a switch, then backtrack through these identical open rooms to the area you just unlocked, which consists of another series of rooms identical to the ones you just passed through. When this Groundhog Day section ends you find yourself in a large, temple-like structure having to do the same thing again, this time through much bigger rooms and with approximately four trillion, considerably less intelligent and interesting enemies chasing you: the Flood. The Flood are a not-very-well-disguised (and very much less entertaining) version of the Xen aliens from Half-Life, using small creatures to "zombify" enemies and turn them against one another, and are simply tedious to fight, since they just run at you and never use the more advanced tactics and AI of the Covenant enemies.

It's always been a mystery as to why Bungie made almost two-thirds of the game so repetitive and tedious as to at times feel almost miserable. The original X-Box had severe memory limitations, but that didn't stop them making the opening third or so of the game much more varied and entertaining. I suspect time was to blame and faced with critical deadlines, they just designed two areas and copy-pasted them to make larger areas. This is not unusual in gaming, but it's interesting that Dragon Age II - a later game that had the same problem but made up for it with a reasonable well-executed main storyline with a larger cast of more interesting characters - was criticised for it when Halo seems to have been given a pass for it.

A counter-argument is, of course, that Halo's campaign is really there as practice and warm-up for the multiplayer mode, which remains robustly entertaining (although perhaps a bit pointless; Halo 3, 4 and Reach have stronger multiplayer combat). Halo's story is pretty barebones in this first game and it was really only with Halo 2 that the storyline and characters started being fleshed out in much greater detail, giving rise to the popularity of the franchise.

As it stands, Halo: Combat Evolved Anniversary (**½) is best experienced as a historical curiosity. It's not completely unplayable and the remaster adds a nice sheen to the graphics and some cool new backdrops, but doesn't solve the original game's severe problems with level design. It's certainly not aged half as well as Half-Life, the recent Black Mesa remaster of which is much stronger.

The game is available now on X-Box One and PC as part of The Master Chief Collection, which also includes a remastered version of Halo 2 and graphically-updated versions of Halo 3, Halo 3: ODST, Halo: Reach and Halo 4.

Tuesday 24 November 2020

THE EXPANSE renewed for sixth and final season

Amazon Studios has renewed The Expanse for a sixth and final season, in a highly surprising move.

The Expanse aired for three seasons on SyFy before being cancelled by the network. The show's production company, Alcon, struck a deal with Amazon to pick up the show. The fourth season, which aired in December 2019, was the seventh-most-popular streaming show of 2019 according to some reports, behind Stranger Things, The Boys, The Crown and The Mandalorian, among others.

The fifth and now-penultimate season will start airing on 16 December this year. Season 6 will start shooting in January for a late 2021 or early 2022 debut.

The news will come as a shock to fans of the series. The novel series the TV show is based on consists of nine volumes, with Book 5 adapting the fifth volume, Nemesis Games, and the sixth likely to adapt Babylon's Ashes. The final three books - Persepolis Rising, Tiamat's Wrath and Leviathan Falls - will presumably not be adapted at all.

Alcon and Amazon's statements make it sound like the cancellation is pretty final, with no chance of moving to another network or streamer (to be fair, it's unclear if anyone else would be interested).

What will happen with the un-adapted books is unclear. There is a significant time jump between Babylon's Ashes and Persepolis Rising, leading to the possibility of the story being rounded off in TV movies or maybe a sequel mini-series at a later date, perhaps giving some time for the actors to age up a bit. Another possibility - compressing events of Books 6-9 into the final season - seems extremely unlikely given how much story and how many characters they'd have to go through.

Some previews for Season 5 suggest that the protomolecule/gate-builders storyline, which is pretty much benched in the fifth and sixth books, will continue to be a major subplot in the TV show, suggesting that perhaps that storyline will be brought up and moved to a conclusion in Season 6, so as not to leave any loose ends dangling.

Amazon and Alcon have also confirmed that castmember Cas Anvar, who plays Alex Kamal, will not return for the final season. Over the summer, sexual misconduct allegations surfaced against Anvar for his behaviour at a series of conventions several years before The Expanse began. The remaining cast and crew will return. It is not yet clear if the role of Alex will be recast or the character dropped between seasons.

Monday 23 November 2020

Hugo Awards add a video game category for 2021

For the first time, a Hugo Award for Best Video Game will be awarded at WorldCon 2021 (DisCon III), to be held in Washington D.C.

Organising committees have the ability to authorise a discretionary category at the Hugo Awards without going through the normal, multi-year process for adding a new permanent category to the awards. A video game category has been debated several times before but has never gained enough groundswell of support to be added full-time. It looks like DisCon will be using this opportunity to trial the idea to see how many people vote for it and support the notion going forwards.

Many, if not most, video games fall into the science fiction or fantasy. Seven years ago, I made a post about video games that engage with their SFF themes in a bit more detail (it's probably about time I did a follow-up). With video games having been commercially available for forty-five years, and having been more popular than either the film or music mediums for more than twenty years, it is probably past time this move was made. I suspect far more people voting in the Hugos have played an eligible video game in any given year than have read a semiprozine or read a novelette, for example.

Assuming normal rules of eligibility, the following video games would be among those eligible for the award in 2021:
  • Cyberpunk 2077 (assuming it hits its 10 December release date)
  • The Last of Us, Part II
  • Hades
  • Final Fantasy VII Remake
  • Ori and the Will of the Wisps
  • Half-Life: Alyx
  • Animal Crossing: New Horizons
  • Kentucky Route Zero (both the final part of the game and the game as a whole)
  • Doom Eternal
  • Cloudpunk
  • XCOM: Chimera Squad
  • Gears Tactics
  • A Total War Saga: Troy
  • Wasteland 3
  • Iron Harvest
  • Marvel's Avengers
  • Genshin Impact
  • Star Wars: Squadrons
  • Watch_Dogs: Legion
  • Assassin's Creed: Valhalla
  • Destiny 2: Beyond Light
  • World of WarCraft: Shadowlands
  • Hyrule Warriors: Age of Calamity
  • Immortals Fenyx Rising
  • Spider-Man: Miles Morales
It is unclear if a game would count if it was re-released or remastered. For example, Final Fantasy VII Remake would count under the award's own rule of being a "significant modification" of the original game, not to mention the fact that it is also an alternate-universe retelling of the original game (i.e. the events of the original game and the remake actually coexist within the storytelling universe as different entities). However, it is unclear if FFVII Remake would be eligible for just 2021 or 2022 as well, since the PC version and possibly X-Box and PlayStation 5 versions of the game will not be released until next year. In addition, it is unclear if, say, Horizon Zero Dawn would be eligible: the game was originally released on PlayStation 4 in 2017, but on PC in 2020 and a potential PlayStation 5-specific version in 2021. It's also unclear if this year's relatively mild graphical remaster of Spider-Man (originally released in 2018) would make it eligible again.

These rules I suspect will be clarified relatively shortly.

Sunday 22 November 2020

HBO greenlights LAST OF US TV series

HBO has greenlit a live-action TV series based on the Last of Us video game series.

HBO announced they had put the project into development back in March, with Chernobyl writer-showrunner Craig Mazin developing the series alongside Neil Druckmann, the senior writer on the game series. Mazin will run the new show whilst Druckmann will advise, produce and write, his duties at Naughty Dog Studios permitting.

The game and TV series are both set in a post-apocalyptic world where a toxic fungus has infected millions of people and turned them into violent monsters. The storyline follows Joel, a middle-aged survivor, who finds himself protecting a young girl named Ellie.

The original Last of Us (2013) was a huge hit. Developed by Naughty Dog Studios, who also developed the Uncharted series (a film version of which is currently shooting), the game sold over 13 million copies. The Last of Us, Part II was released in June this year and has already sold over 4 million copies to date. The sequel seemed to end the storyline fairly definitively, but Naughty Dog are reportedly considering a third game (which maybe a prequel or spin-off rather than a straight sequel) due to the success of the first two games.

Video game adaptations were once seen as a fool's errand in both television and film circles, but a growing number of successful transitions have made HBO - never shy to take on a challenge - keener to try out the idea. Showtime are also deep in production on a TV series based on the Halo series of video games.

The Last of Us will likely enter production in 2021 for a 2022 premiere.


Rania has moved from the countryside to the sprawling city of Nivalis and has taken a job working for Cloudpunk, a not-quite-legal delivery company. As her first night begins, she is directed to deliver packages and goods. She meets some unusual people and gradually discovers the secret of the ancient city's failing computer systems, and is put in the uncomfortable position of having to make choices that will impact on people all over the city. It's going to be a long night.

Cloudpunk is an indie game created by the Berlin-based studio Ion Lands. It's a highly impressive piece of work with a distinct visual style that is constantly engaging and attractive, although the depth of the gameplay is perhaps not quite as compelling.

The game is set in an open world city, which is the true star of the game. Nivalis sprawls for many kilometres, divided into discrete zones, and flying your hovercar around the city never gets old. You can loop through immense streams of traffic like Coruscant in the Star Wars movies, or abandon the sky roads and make your own way along, over and under the city. The city is divided into roads and neighbourhoods which you can visit and explore on foot. Setting down at a car park (you can't just land anywhere), you disembark and can explore in either a first-person or third-person perspective.

The game's aesthetic is somewhat blocky - the game is built using voxels rather than standard polygons - and up-close in the foot sections it looks a bit like someone's fused Blade Runner with Minecraft. This highly stylised aesthetic is not something I'm usually a fan of, but Cloudpunk makes it work well and I came to enjoy exploring the low-fi back alleys of the city. The streets are packed with people, although there's only a few you can interact with (represented by faces on your map). These random people met by chance can open up new storylines or even missions, so it's worthwhile talking to everyone you can. There's also loot and collectibles lying around, such as used batteries, punchcards and old magazines. These can be sold for cash, used to repair broken equipment (such as elevators, opening up new areas) or can be given to specific collectors in return for story advancement or achievements.

There are a few things to spend money on, such as repairs (you'll spend your first few minutes likely flying into walls, a lot, before you get a handle on the game's somewhat stiff flight controls) and fuel, as well as a small number of upgrades for your hovercar and your apartment.

These side-activities are fine, but for the most part ignorable. The game's main storyline is its key appeal and this is quite compelling. Over the course of one arduous night - played out in approximate realtime, since even a completionist run of the game will only take you around ten hours - Rania learns something of the history of the city, gets embroiled in a film noir story involving a hardbitten private detective searching for a missing girl, inadvertently attracts the attention of the cops, indulges in some light corporate espionage and fraud and helps an android recover her missing memory files, which have been scattered all over town. Along the way, Rania makes some friends: a snobbish married android couple, a robot detective who only speaks in third-person gumshoe narration and a deranged butler are only a few of the characters she picks up in her cab. Her main points of contact are her call handler at work, who directs her from behind the scenes, and her sentient AI companion, Camus, who used to be in a synthetic dog body but is now plugged into her car, resulting in an existential crisis.

This is all good fun, though perhaps a little grating (Camus's schtick - a car-dog! - is fun for about an hour and then starts getting repetitive) in the long run. The writing is fine, but the voice acting is highly variable. Rania and Control, who fortunately have the bulk of the dialogue, are decent, as is the detective, but a lot of the rest are forgettable to amateurish.

The core gameplay loop is reasonably enjoyable. Control contacts you with a mission, which usually involves picking something up and taking it somewhere else. This involves exploring a new area on foot and the game's natural pace of advancement means you can do several things simultaneously, such as tracking down loot and collectables in the same neighbourhood where a mission is unfolding. This approach avoids repetition by both giving you better upgrades, so driving between locations becomes easier and faster as the game unfolds, and also varying events in the story, such as some later missions being timed, or taking you off the grid to old or sealed-off parts of the city. Some missions also have multiple outcomes, with Rania being able to make a choice that will determine what happens later on. For example, I befriended an ageing speed racer who wanted to keep racing, despite it becoming dangerous. Rania has the ability to sabotage his next race and encourage him to retire, or help him keep driving. The former saves his life but makes him angry and resentful; the latter sees him die, but doing something he loved and this encourages his friends to later help Rania out of a tight jam. There's probably not enough of these choices to make a full replay of the game worthwhile to see the other outcomes, but maybe enough to make you check out a YouTube playthrough.

After about nine hours the game does start to wear a little thin, but it's around that time the main story starts wrapping up. After a reasonably good ending, you're still able to explore the open world and pick up any remaining loot and track down a last few people with interesting things to say, but the game wraps up well. I do think any sequel will require more gameplay ideas to keep things fresh, though. In the meantime the developers are promising adding new stories, missions, characters and features (such as street racing) which should make revisiting the game a few months down the line interesting.

As it stands, Cloudpunk (****) is a fun, tight and focused adventure game in a beautifully-realised cyberpunk city with some fun characters. The gameplay perhaps doesn't vary too much, but it doesn't outstay it's welcome and it's refreshing to play a game which doesn't rely on violence or action set pieces to get the player's attention. The game is available now on PC, X-Box One, PlayStation 4 and Nintendo Switch.

Saturday 21 November 2020

Character Chronicle: Ahsoka Tano

Ahsoka Tano is – arguably – the most popular Star Wars character to have never appeared in a live action iteration of the franchise, with only a few possible rivals (chiefly Grand Admiral Thrawn). With rumours of her impending arrival in The Mandalorian, though, I thought it might be instructive to revisit the history of the character for those unfamiliar with the various animated series.

Self-evidently, spoilers for Star Wars: The Clone Wars and Star Wars: Rebels follow.

Ahsoka Tano is a member of the Togruta species, a humanoid race hailing from the planet Shili. They are mostly humanoid with varying skin shades, and a highly distinguishable head crest known as a lekku, similar to those of Twi’leks. The lekku aids in communication. Ahsoka is the second Togruta to appear in the franchise, after Jedi Master Shaak Ti appeared briefly in Attack of the Clones and was killed in Revenge of the Sith

Born in 36 BBY (Before the Battle of Yavin), Ahsoka displayed Force proficiency almost from birth and was identified at the age of three by Jedi Master Plo Koon, who took her to the Jedi Temple on Coruscant, where she underwent vigorous training. In 22 BBY, at the age of 14, she was assigned as padawan to Jedi Knight Anakin Skywalker, shortly after the Battle of Geonosis marked the beginning of the Clone Wars between the Galactic Republic and the Confederacy of Independent Systems (the Separatists). Grand Master Yoda assigned Ahsoka to Anakin in the belief that it would temper his recklessness and encourage maturity, whilst Ahsoka would do well to learn from one of the most skilled Jedi warriors in the order.

Ahsoka would serve alongside Anakin and, often, Jedi Master Obi-Wan Kenobi throughout the three years of the Clone Wars. Anakin was initially resentful of her presence, having expressed to Yoda a desire not to have a padawan, believing they would distract him and hold him back. However, Ahsoka soon proved her worth during the Battle of Christophsis, saving Anakin’s life and helping ensure victory over the Separatist forces.

As well as fighting alongside fellow Jedi, Ahsoka served alongside and sometimes commanded the 501st Legion of the Grand Army of the Republic, a unit of Clone Troopers under the command of CT-7567, colloquially known as “Rex.” Rex and Ahsoka struck up an easy friendship and alliance, respecting one another’s skills in battle and saving one another’s lives many times.

Ahsoka served in many battles and on many fronts during the war, but developed a rapport with the planet Mandalore. She first visited the planet to support Duchess Satine’s rule from an internal coup led by another member of the government. She also acted as a mentor and inspiration to the Duchess’s heir, her nephew Korkie Kryze. Ahsoka had several more engagements with the Mandalorians, first fighting the militant group known as Death Watch which wished to return Mandalore to a culture of violence but later alongside them when they became the only hope of defeating the Separatist hold on the planet. During these battles Ahsoka became an ally of Bo-Katan Kryze, Duchess Satine’s sister, after an initially hostile relationship. With Ahsoka’s help, Bo-Katan rallied the Mandalorians and defeated both Separatist plots and an attempt by former Sith Darth Maul to conquer the planet, although Satine was killed in the process. Maul was defeated and Bo-Katan became Regent of Mandalore for her nephew, Korkie. Bo-Katan also became the wielder of the famed Darksaber, a weapon of impressive power.

After her first mission to Mandalore, Ahsoka visited the planet Mortis alongside Obi-Wan and Anakin, a world which would have a profound affect on her destiny. On this planet, which was strongly touched by the Force, Ahsoka had a vision of her future self, who warned her that Anakin was touched by the Dark Side and his corruption would destroy her if she remained at his side. Ahsoka was dubious of this warning, believing it might be a hallucination or itself a manifestation of the Dark Side, and resolved to remain Anakin’s true and loyal friend. During these events Ahsoka was infected with the Dark Side and apparently killed, but she was saved by Anakin at great cost.

The war continued to rage and Ahsoka continued to serve on the front lines. In the battle for Onderon, she worked alongside Steela and Saw Gerrera in establishing a viable resistance force and helping guide it to victory. However, Ahsoka was unable to save Steela’s life during a battle and she was killed. Saw blamed Ahsoka for his sister’s death and this was one of several incidents that made Saw bitter and increasingly ruthless in his war against the Separatists and, later, the Empire.

In 20 BBY, as the end of the war approached, Ahsoka’s position in the Jedi Order was endangered when she was framed for a bombing in the Jedi Temple that killed six Jedi. The attack had been orchestrated by Ahsoka’s erstwhile friend, Barriss Offee, who believed the Jedi had become militant and authoritarian during the conflict. Offee then planted evidence framing Ahsoka. Ahsoka was imprisoned by the Jedi Order, despite her longstanding record of service. Shocked at her treatment, Ahsoka freed herself and attempted to clear her name, working alongside her former nemesis Asajj Ventress to this end. Ahsoka was captured again and put on trial, but Anakin was successful in identifying and exposing Offee as the real culprit.

Despite her exoneration, Ahsoka was badly shaken by how easily everyone had believed that she could be a traitor. The Council suggested that this had been a final trial to prove her worthiness to become a Jedi and offered her the title of Jedi Knight and a formal place in the order. To their shock, Ahsoka rejected the offer. Their lack of faith in her had led to her faith in the Jedi Order being similarly eroded. She quit the Order and departed Coruscant. Yoda may have intervened to ask her to stay, but during one confused vision of a possible future he had seen Ahsoka dying in the halls of the Jedi Temple, possibly a reason why he let her go so easily. Ahsoka’s absence increased Anakin’s feelings of isolation and resentment during the closing months of the war.

Ahsoka became embroiled in various escapades during the closing part of the war before being recruited by Bo-Katan to help free Mandalore from Darth Maul. This operation was completed successfully and Maul taken into custody. Ahsoka escorted Maul back to Coruscant on a Star Destroyer with a detachment of Clone Troopers commanded by her old friend Rex. However, she was struck by a powerful vision of Chancellor Palpatine battling Jedi Master Mace Windu, and witnessing Windu’s death at Anakin’s hands moments later. Ahsoka tried to confide in Rex about her vision, but at that moment Palpatine activated his famed “Order 66,” a command driven by a biological inhibitor chip in the brain of every clone. This forced the Clone Troopers to turn on and kill the Jedi. Ahsoka, forewarned by Rex as he managed to briefly fight the command, was able to evade the initial attack. She freed Darth Maul as a diversion and was able to take Rex prisoner in combat. Through a combination of the Force and surgery, she identified and removed Rex’s inhibitor chip. Unfortunately, Rex was able to confirm that almost every single Clone in the entire Republic had such a chip and had turned against the Jedi in their millions.

Working together, Rex and Ahsoka crashed the Star Destroyer into a remote moon. They survived by escaping in a Y-wing, but most of the crew were killed. Horrified at the death and destruction that had been unleashed, Ahsoka abandoned her lightsabres at the crash site. Some months later, they were discovered by Darth Vader, as Anakin Skywalker was now known, and he assumed she had perished as a result.

Ahsoka spent the next eight years in hiding on the Outer Rim, moving from world to world. However, witnessing the brutality of the newly-proclaimed Galactic Empire led her into contact with various resistance cells and eventually Senator Bail Organa of Alderaan, who was planning (alongside Senator Mon Mothma of Chandrila) to fight against the Empire. Ahsoka was reluctant to return to front-line combat, so Senator Organa decided to employ her as his chief intelligence agent. Hundreds, perhaps thousands, of groups had sprung up across the galaxy in opposition to the Empire, fighting isolated, secluded campaigns on backwater planets with little hope of victory. Ahsoka decided to contact these groups and start spreading resources between them, using the code-name “Fulcrum.” Although it was Organa and Mothma’s diplomacy that sowed the seeds of the Alliance to Restore the Republic, it was Ahsoka Tano’s hard work that made it a reality.

Another seven years passed and Ahsoka became particularly intrigued by the hard work of the crew of the starship Ghost, who were fighting the Imperial occupation on the planet Lothal. Ahsoka provided intelligence and support to the Ghost crew for more than a year before meeting them in person. Ahsoka believed that Hera Syndulla, the group’s leader, had the potential to be a much greater leader and her recommendations saw Hera rise high in the Rebel Alliance’s ranks, eventually (much later) gaining the rank of General. Ahsoka also helped former padawan Kanan Jarrus and his own protégé Ezra Bridger learn more in the ways of the Force.

Ahsoka’s work with Kanan and Ezra led them to an ancient temple the planet Malachor, but also attracted the attention of Darth Vader. Vader and Ahsoka engaged in combat. Ahsoka had come to believe that Vader might really be Anakin, but Vader claimed that he had killed Anakin. During a ferocious duel, Ahsoka destroyed part of Vader’s helmet, exposing enough of his face to make her realise he really was Anakin. The two continued to fight as the temple collapsed. Later, only Vader emerged alive, leading the Rebels to believe that Ahsoka had perished. However, Vader himself was not sure what had happened. Ahsoka had badly damaged the floor of the temple and when he struck a killing blow, the floor collapsed. He could find absolutely no trace of Ahsoka afterwards, and had no choice but to believe she had perished, but could not be sure.

In reality, Ahsoka had been rescued through a most bizarre manner. Two years further down the line, Ezra had located a mysterious dimension accessible through the Force, the World Between Worlds, which stood outside of time and space. At great risk, Ezra had opened a portal to the moment of Ahsoka and Vader’s duel and rescued her, pulling her into this place between dimensions. Ahsoka realised the tremendous danger this realm represented, with the ability to undo events and upset the flow of time and destiny. Ahsoka helped Ezra return to his own time and convinced him not to try to undo the death of his mentor Kanan.

Ahsoka’s activities after this time are unclear; she may have remained within the World Between Worlds for a time or returned to her own time and laid low to avoid attracting the attention of Vader. It appears that Ahsoka initially believed she had cheated fate and death and was unwilling to do anything to change events. As a result, she did not take part in the Galactic Civil War and kept her head down during the events of that conflict. However, five years after the Battle of Yavin, two after the Battle of Endor, she returned to Lothal and made contact with Sabine Wren, one of the other Ghost crewmembers. Ezra Bridger had disappeared in battle with Grand Admiral Thrawn, his command Star Destroyer vanishing into the Unknown Regions of the Galaxy. She and Sabine agreed to join forces to travel into the Unknown Regions in search of them. 

  • 36 BBY: Born on Shili.
  • 33 BBY: Found by Jedi Master Plo Kloon and taken to the Jedi Temple on Coruscant. Begins training.
  • 22 BBY: Assigned as padawan to Anakin Skywalker at the outbreak of the Clone Wars. Also serves as a commanding officer over the 501st Legion of the Grand Army of the Republic, meeting CT-7567 “Rex” and becoming his close friend and ally (The Clone Wars).
  • 20 BBY: Framed for murder and treason, banished from the Jedi Order and forced to go on the run. She clears her name and is exonerated, but feels betrayed by the Jedi Order and refuses to return. As a private citizen, she fights alongside Bo-Katan Kryze in the liberation of Mandalore. Shortly after the battle, she is betrayed by Rex during the execution of Order 66. She saves Rex from his inhibitor trip and they escape. Anakin, now Darth Vader, believes her dead in a Star Destroyer crash (The Clone Wars).
  • 18 BBY: After years in hiding on the Outer Rim, Ahsoka joins Senator Bail Organa’s nascent Alliance to Restore the Republic. She becomes an intelligence specialist coordinating the activities of dozens of autonomous cells, codenamed “Fulcrum.”
  • 5 BBY: Ahsoka begins working with the Lothal rebels, principally the crew of the Ghost (Rebels).
  • 3 BBY: Ahsoka battles Darth Vader on Malachor, confirming he is her former master, Anakin Skywalker. Ahsoka vanishes during the battle, Vader believing her dead. In reality, she is rescued by Ezra Bridger from two years in the future, using the time-warping power of the “World Between Worlds.” Fearing her survival has changed history, Ahsoka lies low for a long time (Rebels).
  • 3 ABY: Destruction of the Second Death Star at the Battle of Endor and death of Emperor Palpatine and Darth Vader (Return of the Jedi).
  • 5 ABY: Ahsoka and Sabine Wren join forces to search for the missing Ezra Bridger in the Unknown Regions of the Galaxy (Rebels).
  • 9 ABY: Adopted Mandalorian Child of the Watch Din Djarin encounters Bo-Katan Kryze during his search for the Jedi. Bo-Katan directs him to find Ahsoka Tano, whom she believes is currently located on the planet Corvus (The Mandalorian).

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Why Alan Dean Foster is important to STAR WARS

Earlier this week, it emerged that Disney has been withholding payments to Alan Dean Foster for his work on the Star Wars and Alien franchises. Foster has written multiple, well-received novels and novelizations for both franchises over a period of more than forty years. Payments for Star Wars were suspected in 2015 (three years after Disney took over Lucasfilm) and for Alien in 2019 (when Disney acquired 20th Century Fox). The SFWA took up Foster's case and publicised it.

Foster had an influential role in helping market the original Star Wars movie. The film was in pre-production and building up a head of steam, with rumours spreading of elaborate and experimental special effects work and an ambitious shoot planned for the US, UK and the Tunisian desert. Judy-Lynn del Rey, working at Ballantine Books, heard about the project and believed Ballantine would do well to pick up the novelisation rights. Having published Alan Dean Foster's novel Icerigger a couple of years earlier, she believed he'd be a good fit. By coincidence, Charles Lippincott, the marketing manager for the film, was looking for a deal for the novelisation and the two plans converged.

This resulted in Foster being invited to a meeting with Lucas at Industrial Light and Magic's headquarters. For his part, Foster was familiar with Lucas's previous films, THX 1138 and American Graffiti. He and Lucas hit it off and Foster agreed to the writing gig. He was sent the latest version of the film's script and some of Ralph McQuarrie's concept art (some of which later appeared in the novel and on the cover) and set to work.

When it came time to release the novel, it was decided to credit the book to Lucas: the novel was heavily based on the script, using some dialogue verbatim and Foster believed his job was more like a building contractor working on a Frank Lloyd Wright house than an original creator. Despite this, it was widely known that Foster was the writer and George Lucas acknowledged this in his introduction to a later edition of the book.

The book was published as a paperback original in December 1976 by Ballantine. This was a full six months before the film was released. By the time the film was released in May 1977, the novelisation had sold a startling 3.5 million copies.

As a result, the book had done a lot of heavy lifting in getting people excited for the film. Readers scoffed at the idea that the elaborate battle sequences in the book could be realised for the film, but were keen to see for themselves. Helped by Charles Lippincott's other marketing ideas, such as the memorable poster by the Brothers Hildebrandt and a Marvel Comics adaptation (beginning three months before the release of the movie), the novel helped drive the hype for the film to huge levels. This was rewarded when the film was released and quickly became the biggest and most successful movie in history to that time.

Foster's involvement continued when he wrote the first original Star Wars novel, Splinter of the Mind's Eye. One idea originated by Lucas is that if the original film was successful but not a huge hit, they could use the novel as a the basis for a cheap sequel. As a result, Foster was asked to reduce elements in the book such as space battles, new creatures and even the role of Han Solo and Chewbacca, since Harrison Ford had not yet signed on for a sequel, but otherwise Foster was allowed to create his own world, characters and story. Published in March 1978 by Del Rey Books (Judy-Lynn del Rey and her husband Lester having set up a new imprint, still going strong today), the book was another huge seller. It has since been retconned as the first work in the Star Wars Expanded Universe and was reissued in the 1990s with some minor revisions to remove elements that clashed with later-established canon. It was also later adapted as a comic.

The success of these projects saw Foster contracted by 20th Century Fox to similarly adapt their big, upcoming SF movie. This became the novelisation of Alien, published in 1979. Whilst other writers handled the novelisations of the Star Wars sequels, Fox asked Foster back for more projects, resulting in the novelisations of Aliens in 1986 and Alien³ in 1992.

The role of novelisations has become - arguably - somewhat more redundant over the decades, but back in the 1960s and 1970s, they played a key role. Before films were widely available to buy or rent on video, a novelisation was often the only way for a fan to experience the story again. Novelisations were also frequently published months ahead of the film, helping build up hype and awareness of the film in a pre-Internet era. Novelisations were also able to get across information from the script that may not have been mentioned in the film. Infamous scenes cut from the films, such as Han Solo meeting Jabba the Hutt in Mos Eisley; Ripley discovering Captain Dallas being turned into a xenomorph egg; and the smartgun scene from Aliens, all first appeared in the novels decades before they turned up in the "special editions" and director's cuts of the films themselves.

In this manner, Alan Dean Foster played a key role in spreading awareness of two of the biggest SF movie franchises of all time. His novels also gave people a way of enjoying the story again and again, and gave vital background information on the story and world that was not available in the films themselves. He has more than earned his pay from the big mouse corporation.

As well as his work on the big franchises, Foster has a large number of novels in his own worlds, particularly the epic fantasy Spellsinger sequence and the SF Humanx Commonwealth series. He has also published many stand-alone novels, most recently Relic (2018).