primeideal: Luke Skywalker and Darth Vader duelling (luke)
Generally and on the whole, fictional dialogue should be in-universe--it shouldn't break the fourth wall. So it should make sense within the context of the fictional setting, that this would be something the characters say to each other. When this fails, it can lead to clunky "as you know, Bob" infodumping to give the audience context for something the characters should already know

The OT and PT aren't perfect about this. The big example for me is with regard to the Clone Wars. In "A New Hope," Leia's recording says "you [Obi-Wan] served my father in the Clone Wars," and that helps establish a "lived-in" backstory to the universe--although presumably Obi-Wan already knows that, so reminding him is more for the viewers' benefit than his own. However, when the prequels come around with "Attack of the Clones," Yoda gets the last line with "begun the Clone Wars have." This...doesn't really make sense. They've just fought the first battle in that war--how is Yoda to know what the conflict will come to be known as? The answer, of course, is that he's lampshading it for the viewers who remember that line from ANH. So when I criticize the sequels on this, please don't think that means the earlier movies are above criticism.

However, I do feel that the ST has a lot more lines that semi-directly address the viewer, with a "oh hey, you are watching Star Wars." Or that don't hang together in the context of the series overall. In some cases that's just annoying; in others, it doesn't even make sense ICly. So let's go through them.

The Force Awakens

Rey and her backstory

"Classified. Really? Me too. Big secret." Rey talking to BB-8 about where she's from.

"What girl?" Kylo on hearing about Rey.

"Who's the girl?" *cuts away* Maz talking to Han.

One of the big questions running through TFA is "where is Rey from"? That's not just the audience's reaction to "hmm, a new protagonist! let's learn more about her!" but is explicitly brought up by the characters themselves. Rey jokes about her origins as if talking to the viewers, Kylo reacts strongly to hearing about a girl, and the movie doesn't reveal Han's answer to Maz, as if he's hiding something.

This doesn't make any particular theory thrown around by fans between TFA and TLJ's release right or wrong. (Ao3 lists Rey Kenobi, Rey Palpatine, Rey Skywalker, and Rey Solo as popular options, and those are just the freeform canonicals!) But it does suggest that there would be some relevance to her family beyond "she needs to accept that whoever left her on Jakku won't come back for her," a lesson she's taken to heart by the end when she's willing to move forward with the Resistance. If not, why keep poking at it? It wouldn't have been hard to mention "my parents were from Jakku and died there" if it wasn't supposed to be an important plot point. (It boggles the mind that, for one, the high-ups didn't just sit down and have a very small group take as long as they needed to to draft scripts for all three movies before beginning the first. Goose, golden egg, etc.)

"A good question for another time." -Maz on the lightsaber

Again, pointing out the weirdness of having Luke's lightsaber show up with no context for how it got there from Bespin (where's Lando in all of this??)...and then never coming back to it.

"Is there a garbage chute? Trash compactor?" Han to Finn re: Phasma

Phasma ultimately winds up being a minor enough character that we don't necessarily need a whole lot about her other than "the heroes knocked her out and left her for dead," but if I'm being consistent, I should point out that the only reason this is funny is if you've seen ANH. (And the fact that Phasma shows up again briefly in TLJ begs the question of...what was the point of dropping her off shortly before Starkiller Base exploded, if she emerges unscathed?)

The Last Jedi

"Tell your precious princess there will be no terms... there will be no surrender." Hux to Poe

This didn't stand out to me until I went looking for quotes to pull. But...Poe calls Leia "General Organa," not "Princess." Just like everyone else, except maybe Lor San Tekka ("to me she's royalty"), but he's dead and that thread went unexplained too. Why would Hux call Leia a princess? To remind the audience "this is Carrie Fisher from 1977"? Showing he's a bad guy because he refers to a woman as a symbolic figurehead rather than a military leader in her own right, and only a chauvinist would do that? Something else???

"You think what? I'm gonna walk out with a laser sword and face down the whole First Order?" Luke to Rey

Does referring to a lightsaber as a laser sword inherently trivialize the Jedi's seriousness? No, of course not: contrast this line with Anakin from TPM. "I saw your laser sword. Only Jedi carry that kind of weapon."

Anakin is a young child who has never been around a Jedi or immersed in their vocabulary. He refers to the weapon as a "laser sword," because that's literally what he sees.

Rey, however, is familiar with the word "lightsaber" from Maz as well as Kylo Ren. So it's not like Luke, who's perfectly familiar with the term, has to dumb it down for her. Rather, he seems to be mocking us along with Rey for daring to believe that the previous trilogy's protagonist might...go do protagonisty things. Some will say that the fact that he (or his hologram) did in fact do that is evidence that he ate his words, but that should be balanced against his "success" in "I came to this island to die."

Not a line of dialogue, but I feel like this belongs here--Admiral Ackbar shows up again in order to...be killed off with all the other non-Leia officers when the bridge is bombed. What's the point? Bring back a very minor character for the sake of "all right, now get over your nostalgic self"?

Rey: The island. Life. Death and decay, that feeds new life. Warmth. Cold. Peace. Violence.
Luke: And between it all?
Rey: Balance. And energy. A Force.
Luke: And inside you?
Rey: Inside me the same Force.
Luke: And this is the lesson. That Force does not belong to the Jedi. To say that if the Jedi die, the light dies, is vanity. Can you feel that?
Rey: There's something else beneath the island. A place. A dark place.
Luke: Balance. Powerful light, powerful darkness.

-Has Rey ever claimed that the Force belongs to the Jedi? She's seen Maz say "I am no Jedi, but I know the Force," and Kylo Ren manipulating stuff. We don't know if she even considers herself a Jedi, as opposed to "someone who likes to escape from prison with mind tricks." Absent that, this seems like more talking to the viewers.
-Similarly, equating the Force as the Jedi have used it with "the light" seems out of sync with the other movies. In the OT there's no mention of "balance" or "light." Qui-Gon introduces the notion of "balance" in TPM, but it's not clear what that means--Obi-Wan says Anakin was "supposed to destroy the Sith." More broadly, claiming that "true power and freedom requires equal amounts of goodness and badness" reflects a...pretty warped usage of the words "goodness" and "badness." Like, how am I free or powerful if I have to do evil half the time just 'cuz?

"It's a terrible place filled with the worst people in the galaxy...I wish I could put my fist through this whole lousy, beautiful town." -Rose on Canto Bight

"the worst people"--capitalists and war profiteers. Okay, I can see why Rose would not like them. But are they the worst, really? Worse than the First Order troops who annihilated Paige's squadron a few hours before?
"lousy, beautiful town"--you called it "terrible" five minutes ago and now it's beautiful? We know you don't like it, why explain you want to punch it? (Show vs. tell.) Seems more likely directed at RL military-industrial complexes/late capitalism. ("Beautiful" in that the writers/directors benefit from allowing this system to exist and, like, let them spend lots of money on making films? But also trying to virtue signal and portray onesself as above it.)

Luke: Now that they're extinct, the Jedi are romanticized, deified....At the height of their powers, they allowed Darth Sidious to rise, create the Empire, and wipe them out. It was a Jedi Master who was responsible for the training and creation of Darth Vader.
Rey: And a Jedi who saved him. Yes, the most hated man in the galaxy. But you saw that there was conflict inside him. You believed that he wasn't gone. That he could be turned.

-Who is romanticizing the Jedi in-universe? Seems more targeted at RL fans.
-Who is Darth Sidious? Sure, we know that's the Emperor's Sith name, but does Rey?
-What does she know about Obi-Wan?
-Rey knows that Luke redeemed Anakin, but Kylo Ren still thinks of Anakin as Darth Vader? What does the rest of the galaxy know about those two?

"OK. We get in, we find this codebreaker, we get out." -Rose
"Without a codebreaker to break us onto Snoke's Star Destroyer.... what do we do?" -Rose to Finn (DJ, asleep, conveniently overhearing)

Let's allow the plot device of "a talented codebreaker just happens to hear the plan;" why is Rose even saying this out loud? Finn knows what the plan is. So do we, for that matter! Why do they need to keep reminding each other?

"Page-turners they were not." -Yoda to Luke

-Has Yoda read them?
-Does he care?
-Is this an implicit way of saying "actually our old Order way of doing things was terrible, you and/or Rey can do much better"?

"You have no idea how much that medallion means to her." -Finn to DJ re: Rose

Again, we know the medallion is significant because we saw Paige with the other half. What does Finn know about it??

"You go on. I've said it enough." -Leia to Holdo re: "May the Force be with you"

Pointing out that it's become a cliche phrase (in both universes)? (In contrast I thought Finn's usage of it when he's trying to get away from Rose in her first scene was great. Reflects the struggle they might have between his newfound fame and her hero-worship, but still feels in-character.)

"She was more interested in protecting the light than she was seeming like a hero." Leia on Holdo

"the light"=the Resistance survivors? (Most of whom are about to be wiped out anyway.) Again, usage of "light" feels weird. And are these goals really incompatible? Luke "protects" the last few stragglers and also manages to look like a hero doing it; Rose gets knocked out protecting Finn.

"We got caught, I cut a d-d-d-deal." -DJ

When?! In his last scene he, Finn, and Rose were all together when they got captured. Did they get split up to offer separate deals? Has he been planning to sell them out since before they left Canto Bight? How do you get from point A to point Q?

"After the Rebels are gone, we will go to his planet and obliterate the entire island." -Snoke

When did he learn about Ahch-To/that Luke was on an island?

"You've just hidden it away. You know the truth...They were filthy junk traders who sold you off for drinking money. They're dead in a paupers' grave in the Jakku desert. You have no place in this story. You come from nothing. You're nothing." -Kylo to Rey

Ooh boy.

Rey's desire in TFA is for her family to come back. She tells BB-8 she's waiting for her family, she tells Finn she needs to get back to Jakku, Maz tells her that whoever left on Jakku isn't coming back. We don't know if that's her parents, siblings, cousin, father's second cousin's aunt's college roommate! She doesn't express a desire to know who her family and/or parents are, she just wants them in her life. Maybe she already knows the names and identities of the people she's waiting for, although that's not clear given the "classified" line. But presumably, if she already knew her parents were back, or never cared about her in the first place, she wouldn't be waiting for them.

So "you wanted to know who Rey's parents were? Well too bad, they're nobody" is, again, directed to the viewers who dared to form theories (the horror!) And, it's not like we weren't encouraged to do so, again given the "classified" stuff from TFA. But Kylo's use of the word "story" is over-the-top in Kylo talking to us.

"That's how we're gonna win. Not fighting what we hate, saving what we love." Rose to Finn

What was Finn just trying to do before she stopped him? Save the rest of the Resistance from the big door weapon thing!

More broadly, the movie seems to be trying to contrast "good/selfless" (often but not always womanly) heroism with "bad/selfish" bravado (exemplified by Poe defying orders in the beginning and getting a bunch of people killed). In this sense, Holdo's sacrifice would fall into the first category. But taking out the First Order ship still seems to fall under the category of "fighting what we hate"!

---

I recognize that much of this might sound very nitpicky. And it is. But I wouldn't have gone looking for more examples of these quotes if TLJ (and TFA to a lesser extent) hadn't been so dissatisfying to begin with! In using "Star Wars" as its own mythology to poke at/tear down, the sequel trilogy awkwardly trips over the fourth wall. If the original trilogy's achievements are portrayed as transient to make the point that "everything is transient and meaningless," then okay. But if so, why should we waste time getting invested in these new characters?
primeideal: Multicolored sideways eight (infinity sign) (Default)
Belatedly coming back to this series. There may be more, maybe not. Depends on how angry people on the internet make me.

--
 
The original trilogy's protagonists aren't the most complex, well-rounded, deep heroes in all of media, but they're also not static or two-dimensional. They grow and change over the course of the movies. Let's see how their individual plots have changed them.
 
Luke: starts out as an impatient farmboy who wants to be a pilot like his father. Eager for the call to adventure.
 
Winds up: a Force-user who's willing and able to resist the urge to fight when need be. Attempts, and eventually succeeds, to reach Anakin by appealing to the goodness within him.
 
Leia: starts out a leader and experienced diplomat.
 
Winds up: valuing the personal as well as the big-scale, admitting to her love for Han. Uses the Force to save Luke in Bespin, and in RotJ, is poised to have Luke pass on what he has learned. ("In time you will use this power too.")
 
Han: starts out a scoundrel, shoots first, in it for the money.
 
Winds up: feeling allegiance to Luke, Leia, and their ideals to return and save the day in ANH. Accepts carbon freezing rather than fight and risk the others.
 
And another couple "main characters":
 
Vader: starts out Force-choking people and being good at flying spaceships.
 
Winds up: killing the Emperor and sacrificing himself for his child(ren).
 
The galaxy as a whole: starts out under the thumb of the Empire, getting planets blown up and stuff.
 
Winds up: not that.
 
We can also examine the PT to see if it has similar narrative arcs. Luke and Leia are newborns at the end of RotS, so they obviously have no character development. Anakin's is dramatic, being moved by a desire for freedom on an individual and societal level, to affection for Padme and his mother, to jealousy of the Jedi Council, to Vader. Padme and Obi-Wan's arcs, I would say, are similar in scope if not as dramatic.
 
The galaxy as a whole falls to the Empire pretty quickly, I know one criticism that's been made is "there was only 19 years between RotS and ANH? Obi-Wan talks like it's been generations." Which I think is valid, but bearing in mind that Anakin Skywalker (whoever he was) as a former Jedi had to live long enough to reach Luke and Leia's conception ~20 years before ANH, I think it's not a terrible plot hole.
 
Han isn't in the prequels either, but he is in Solo (which has issues of its own), and I think it's reasonable to say that that movie didn't help his characterization as an arc. The young Han we see there is somewhat softhearted--most importantly, giving the coaxium to Enfys and her gang. Yeah, he kills Beckett, and I guess we're supposed to infer that this starts him on the road to being tough guy Han from the beginning of ANH. But I don't feel like it convincingly portrays that side of him overall.
 
Now, the OT guys are not the main characters of the sequels, and it's fair to expect that they should play more static supporting roles while the younger generation (Rey, Finn, etc.) have more developed arcs. But the ST /should/ take into account the evolution the characters have already undergone, and try and imagine what they'd become 30 years out rather than resetting.
 
Luke: contemplated killing young Ben|Kylo because of Force premonitions, then disappeared, didn't tell his friends where he was, gave up on the Jedi entirely. Insisted he wanted to come to Ahch-To to die, succeeded in technically dying there despite projecting himself across the galaxy to be "with" Leia.
 
Leia: is a general. Uses the Force, but seemingly by instinct rather than training.
 
Han: has left Leia, is back to smuggling dangerous creatures and crashing in pirate cantinas.
 
Anakin: offscreen; Kylo hero-worships him as Vader but apparently doesn't know or care where he eventually wound up. Luke uses "a Jedi trained Darth Vader, therefore Jedi bad, QED" as his argument to give up on the Jedi.
 
The galaxy as a whole: oppressed by the First Order (?), planets getting blown up.
 
What was the point of the OT, in this context? What did it accomplish? Are the heroes or the galaxy actually better off for having been through any of it, or would another thirty years of Palpatine in charge been at least as good for everyone/the characters we've come to care about than what we get?
primeideal: Text: "Right, the colors. Whoa! Go away! We're trying to figure out the space-time continuum here." on Ravenclaw banner (ravenclaw)
 I wanted to like the Star Wars Sequel Trilogy.
 
Okay, there are parts that I definitely like! Finn's backstory is great, so is Rose's, put 'em together, awesome. But as a part of the Star Wars series, it overall falls flat for me, and these feelings have only deepened with time.
 
Obviously, if you like the ST, that's great! You're still just as much a Star Wars fan as me and I don't want to dissuade you from enthusing about or creating fanworks about your favorite characters, etc. But there have been some fans I've run across who don't seem to get why I've in part bounced off these, and I've been turning over thoughts in my mind for a while about how to express this better, why do some parts of it work for me and not others. Knowing me, I can either do a one-sentence summary, or a bunch of wall-of-text posts, there is no other way. So we're stuck with the latter.
 
This (tag: sequelitis) is going to be an ongoing series posted...whenever I feel like...about what makes sequels/prequels etc work/not work for me. Take as subjective, yada yada. But I had to get it out there. Spoilers all over the place, for obvious reasons. Sometimes I'll try to be vague but sometimes that's not gonna work.

Sequels that Work
 
What makes a good sequel? For me, it has to build on the original. If there are shared characters (and there usually are, but that's not guaranteed), the recurring characters should be recognizable as "themselves at a later date"--maybe they don't have the exact same outlook on life, but there should be strong similarities between them.
 
The sequel also has to have a plot that takes the events of the original into account. If the original conflict was resolved and everyone's just sitting around chilling and flirting with absolutely no complications, that might be a fine fanfic, but it doesn't really work as a standalone work. However, and this is going to be a big sticking point for me, the plot also has to recognize the events of the original, or at least not negate them!
 
A lot of episodic series don't really live up to this, because they're mostly designed to be read/watched in any order. So for something like Animorphs, there are occasional time dependencies with the minor characters, but for stretches like books 14-19, you could switch them around in almost any order and be fine. Similarly, I really enjoyed the Redwall books, but they're pretty formulaic in a "a villainous army rises to threaten the Abbey; they are defeated" way. Especially by the end, they don't have much dependence on each other/characters. (The first few might actually be better as prequels, which I might get to in a later installment...maybe.)
 
So what are some sequels I've liked?
 
Blade Runner 2049
 
At the end of the original Blade Runner (set in 2019), Rick Deckard and Rachael escape together. The focus of 2049 is on a new character, officer K. However, we later learn that Rick is alive and on the run from the law. He's succeeded in his goal of getting out of LA and the system and won't be drafted into being a Blade Runner again. The accomplishment of the original is intact.
 
But there's still conflict. K has a mystery to solve at work, with lots of pressure from Joshi, Luv, and later Freysa's gang. And as we see, the events of 2019 were very important in setting this mystery in motion.
 
I think it's also well done that the sequel doesn't take sides on whether Rick is a replicant. The different versions of the original have different implications, but all we get from 2049 is the conversation between Gaff and K that can deliberately be read either way.

City of Blades (Divine Cities trilogy)
 
I have some issues with this series, but for the purposes of sequel analysis, this is a good one. In the first book of the trilogy, City of Stairs, Shara Komayd is the main character and Turyin Mulaghesh is a supporting character. In "Blades," Mulaghesh takes center stage.
 
The worldbuilding of these books centers around two countries, one of which has gods that have been killed off over the years, the other doesn't. In "Stairs," we found that two of the gods were only sort of dead, and Shara had to kill them off fully. In "Blades," we focus on a different god, Voortya, who was really "dead" decades before the events of Stairs. So Shara's accomplishments are still intact, but the characters have to puzzle out "well if Voortya's gone, how is she influencing the living world."
 
Shara has changed in the intervening time; instead of being a semi-disgraced spy, she's now risen to prominence and become a reformist politician. Mulaghesh lost one of her arms in the end of Blades, and is mostly adjusted to using a prosthesis. And we learn more about Sigrud's past as a (mostly absent) family man. So the characters are different, but still recognizably themselves. Additionally, as we learn later on, one of the climactic events of "Stairs" set one of the main villains of "Blades" down the path to darkness.
 
Beyond the Tomorrow Mountains (Children of the Star)
 
Tiny fandom, but it's been on my mind since I wrote for it for "Be the First," so: "Children of the Star" (book 1) ends with Noren trying to accept his new role and the fallout of being a heretic. In Mountains, which picks up less than a year later, he's still not committed to all the implications of his position. But he has to serve as a mentor and friend to Brek, the Technician who becomes a heretic and finds himself in a similar place to Noren. Brek wasn't named in the first book, and he wasn't on trial yet, just "a questioning Technician who helps Noren out"--but his experiences with and watching Noren push him over the edge to outright heresy. Meanwhile, the Scholars are starting work on a new settlement, which requires them to go against long-established tradition and leave the City to work elsewhere.

Are there issues, sure. I mentioned in my other post on them that this one can get kind of anvil-y in a "science and faith, they are both good!!" kind of way. But I don't think that stems from being a sequel.
 
Ultimately, the main characters are saved from being stranded in the wilderness by stumbling across an alien artifact and activating it to send out a signal. Is this a deus ex machina? Not necessarily--"Children" had already established that there were other sentient Visitors to the planet (who stripped the metal), so for me, that felt like a believable resolution. (I know Engdahl has gone back and forth on whether the twists of book 3 are plausible, but to me, there's enough groundwork laid in 1 and 2 that "and now, aliens" isn't too jarring.)
 
So, sequels! They can be done. Well. Sometimes.

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