Welcome back to Aurebesh Month! You can read last week’s entry HERE! When the subject of backwards Aurebesh comes up, oftentimes people like to point to LucasArts games as a source of the flipping confusion. I will admit that there have been many times in LucasArts games where Aurebesh (or another in-universe script) has been seen in a horizontally-flipped orientation. However, this is different from the ‘flipped capitals’ reenactorism…because in these cases the letters aren’t flipped… the entire word is, and there’s an easy explanation.
I’ve explored the idea of Reenactorisms—the acceptance and perpetuation of an innaccuracy—several times before, but it is worth pointing out that these are not limited to fan creations: official resources can still fall into the pit. Work on this month’s Style Guide post got me thinking about a key confusion in the depiction of the Twi’lek species: males have ears, but what do females have? The past 20+ years of visual sources suggest they all have cones where their ears should be, but prior to the release of The Phantom Menace in 1999, Twi’lek females most definitely had ears! We can trace the source of this confusing inconsistency by noting the examples of ‘cone’ or ‘ear’ as they appeared in order of release.
1983: Oola—the first depiction of a female Twi’lek—is green. The cones on Oola’s headdress are clearly white, and are also clearly part of the headdress, not protruding from within it.
January 1995: art development/pre-production begins on Episode I
In an earlier post, I wrote that I like to play a little game whenever a ‘custom Mandalorian’ costumer comes across my feed. The game is called ‘how many mythosaurs will this costume have?, and which pieces of kit will they randomly adorn?’ Unlike the ur-Mandalorian example (Boba Fett) who bore a single small mythosaur on a pauldron, the ‘custom Mando’ crowd seemingly can’t help but slap them everywhere: side of the helmet, on their cape, covering their entire chest armor, on their blaster stocks, on their belt buckle…sometimes all of the above??? What does this have to do with a truck covered in bald eagles and American flags? I’m glad you asked!
Familiarity breeds contempt as they say, and once I notice a trend, it starts to bug me and becomes hard to unsee. Each week, I see scores of ‘Custom Mandalorian’ costumes, and like the diehard Disney fans who hide an obligatory ‘hidden Mickey’ in their props, whenever I see a Mando come across my feed, I like to guess how quickly this standard cockeyed, off-kilter, cracked-skull Mythosaur will show up: “Is it hiding in the first photo? Second photo? Third photo?”
A kit which turns out to be sans mythosaur, on the other hand, is always a pleasant, refreshing surprise! (One of the things I really appreciated in The Mandalorian was that—so far as I can tell—none of the non-Boba Fett character designs included this stock symbol.)
As I’ve talked about a few times before, when reenacting any setting (historic or fictional) one of the best ways to add depth to an impression is by including small details or items of ‘pocket trash’! One of the ideas I frequently see discussed in online Star Wars cosplay circles is the idea of ‘hunting trophies’, and a recent thread made me realize I definitely have some thoughts on the subject!
Whether it’s bones and claws from critters, crystals from Jedi lightsabers, battle droid fingers, or actual lightsabers, the notion that a bounty hunter or mercenary character should have a collection of tchotchkes taken from past kills dangling from their belt, blaster, or backpack is one of those trends that the costuming community has really latched onto. However, I submit that this type of decoration is A) actually an impediment to such work, and B) a fan reenactorism not seen in either primary or secondary sources. Be sure to stick around til the end for some ideas on how to more authentically portray these kinds of character in true ‘living history’ style!
Aaaand just like that, I think I’m done. Erm, I meant…Welcome back to my commentary series on Season 2 of The Mandalorian; for this installment we’re breaking down the Season 2 finale, Chapter 16 ‘ The Rescue’.
We open with Slave 1 chasing a Lambda-class shuttle, and wasn’t it nice to hear those high-pitched lasers again? We see the inside of the shuttle, and it was amazing how much more open the cockpit feels versus what we saw in Episode VI—is it something to do with being widescreen, depth of field, or is the set here just twice as big? It just feels like we’re seeing two totally different ships to me.
Welcome back to my commentary series on Season 2 of The Mandalorian; for this installment we’re breaking down Chapter 15 ‘The Believer’. Aside from the first episode, I haven’t been too especially fond of any of this season’s installments; after the on-rails themepark ride of ‘The Siege’, the poor direction of ‘The Jedi’, and the mindless action of ‘The Tragedy’, I had low hopes for the next episode. As we will see, having lowered expectations meant I was able to be pleasantly surprised.
The episode opens with a scruffy-looking Mayfeld on a New Republic prison work detail, where he’s busting up wrecked TIEs. Right off the bat, I’m onboard, because while Star Wars might refer to prisons from time to time, we almost never get to actually see people in prison, much less doing menial labor – it’s a nice bit of worldbuilding. (Off the top of my head, all I can think of is the Jedi Knight novella which saw Alphonso Obata incarcerated by the NR on Milagro, jackhammering a city glassed by orbital bombardment).
In this opening we see Boba has repainted his armor, and it looks…Not At All Star Wars-y. While one could easily make the argument that ‘Everything was new once’, seeing him with a refreshed paintjob and how weird it looks really underlines how key the ‘Used Universe’ look is to the Galaxy Far Far Away. If you, dear reader, have just finished assembling and painting your own Star Wars kit, don’t stop now! It may feel wrong to intentionally ‘mess up’ something you’ve spent a lot of time and effort on, but if you really want to do right by the aesthetic, you need to bite the bullet and do some weathering and aging to really sell the look.
Also, is this the first time we’ve seen a light-up identification doodad? I can guess what all the fancy propmakers and Batuu-bounders will be upgrading to this winter…
Welcome back to my breakdown series on The Mandalorian Season Two. I’m about a week behind, but we’re looking at Chapter 14 ‘The Tragedy’ this time around.
Boba Fett (played by Temuera Morrison, nice continuity!) has somehow tracked our Lone Wolf and Cub to Tython. I really have to wonder…HOW? Last we saw Boba, he was watching the Titular Mandalorian swooping into the sunset on Tatooine. After walking back to Mos Eisley, they went sublight with Lady Gecko to Spidery Ice Planet, then to Fish Planet, took a detour back to Navarro, then to Dead Forest Planet before heading to Tython. We know the ship has been tracked since Navarro due to Gideon’s spy, but how would Boba be able to follow that convoluted-ass trail?
Anyway, Boba shows up and I’ll be damned if he isn’t packing around the longest gaderffii I’ve ever seen…over five feet by my calculations, so literally as long as his long-ass Tusken rifle! Also, as this hobby includes an element of approaching on-screen things through a realism-and-practicality lens, I have to ask: just how is that gaffi staying on his back? (Note that we never see Boba take it off his back, he just magically has it in his hands in a different shot.) His rifle has a sling, but the gaderffii just seems to hover on his back, which is silly and purely just for ‘cool points’, to give a ‘Hollywood swordsman’ silhouette.
Welcome back to my commentary series on Season 2 of The Mandalorian; for this installment we’re breaking down Chapter 13 ‘The Jedi’, and I gotta say, while everybody was losing their minds this time around, I really wasn’t feeling it. Call it jumping the shark, but something just felt…off about this chapter, which is profoundly disappointing to me because there was such potential.
A few folks’ comments I saw praised Dave Filoni’s directing in this episode, saying ‘it was just like an episode of The Clone Wars come to life!’ But to be honest, several times this episode I almost found myself nodding off…too many long, lingering shots with nothing happening made it feel very poorly paced.
Right off the bat—literally, just 40 seconds in—we have our first view of live-action Ahsoka…and boy, was I underwhelmed. I feel like the cold open where Ahsoka picks off mooks in the darkness had the potential to be a really visually-dynamic sequence, but what we get just struck me as humdrum instead of artistic. Considering the murky setting and the lightsabers involved, I think this chapter’s opening could’ve been a great exercise in chiaroscuro as a Lucas-style “tone poem”: make the scene darker, use the lightsabers sparingly, with some mook POV shots as you hear (but can’t see) her getting closer, a snap-hiss and a scream in the distance, then see a dark shape zipping from place to place…in my mind’s eye the scene is way better than what Filoni gave us. The best parts of the sequence are early on, when Ahsoka is obscured or seen in silhouette (in a hood she has a great silhouette), and given the reputation of the character you’d think she would merit a better reveal than what we got: I wish she had been teased early and then been properly revealed later in the episode, but…nope.
Welcome back to my breakdown series on The Mandalorian Season Two. While I’m a bit behind schedule, this time we’re looking at Chapter 12 ‘The Siege’.
Right off the top I feel the need to point out that nothing in this episode resembled a siege. Once the plot kicked in, I actually started getting some serious Rebel AssaultII vibes…but levels in that game were either ‘sneak around Imperial base, hide around corners, and point-and-click to shoot Stormies’ or vehicle-based ‘shooting gallery on rails’…so not exactly the most dynamic, compelling, or realistic tone for a TV show to take.
Living History in the Star Wars Galaxy 