I just read an interesting article called “The Hidden Artistry of the Star Wars prequels”, by Mike Klimo. It’s a very good (and very long) reinterpretation of the prequels that defends them very cleverly. Klimo argues that they have a lot of hidden symbolism and intentional echoes of the original trilogy, to a degree few realize, designed to create an intricate story structure. And indeed, some of the shots in the prequels are uncannily similar to scenes in the original.
Frankly, though I am a staunch defender of the prequels, not all the arguments persuaded me. I think in some cases the reason for the similarities between the two trilogies is that “George Lucas likes those kinds of shots”, rather than “George Lucas was deliberately telling a subtle and complex visual narrative.” Because frankly, one flaw in the Star Wars series is that the six films do not fit together visually–the switch from Episode III to Episode IV is incredibly jarring, and makes it feel like a completely different series.
Nevertheless, it is a very good article, and raises interesting observations and details, as well as talking about a style of narrative I’d never heard of before. If you have time for a long read, it is quite thought-provoking for anyone interested in movies.
You could argue that Lucas’ attempts to make lightning strike twice with the exact same formula on an audience who had only grown more jaded and cynical since their first viewing of the original trilogy doomed the project from the start. I think if we had come to Star Wars for the first time as kids with Phantom Menace, we’d feel a bit more fondly towards the prequels.
Having just watched all six Star Wars movies again, after not seeing them (except Phantom Menace, which I saw in 2012) for about 8 years, I would say that my impression was still that the prequel trilogy, while flawed, was far better than the original trilogy, which is entertaining but a mess. A New Hope was frankly rather silly. I’ve always felt this way, but this time the feeling was actually more pronounced. The Phantom Menace may have some of the best scenes of the entire saga–each time I see it, I’m impressed by how good it is.
I’ve written at length about why each of the Star Wars prequels are actually good here, here and here. I think people are gradually coming to appreciate them more.
This time of year is always important for the video game industry, as they move their products into stores for the coming holiday rush. Games have become one of the most successful forms of popular entertainment, with recent years seeing multi-million dollar launch events that break records once belonging to Hollywood. Early December is the peak time of year for selling the latest installments in hit franchises to loyal fans.
10 years ago today, the sequel to 2003’s Game Of The Year was released. And not only was it a sequel to an award-winning instant classic; it was set in the Star Wars universe; George Lucas’s billion-dollar space-faring fantasy whose allure has captivated generations. Small wonder, with such a pedigree and promise, that LucasArts was eager to ensure it was released in time for the Christmas shoppers–they wanted to be sure to get everything they could out of this highly-anticipated title.
This eagerness caused them to encourage Obsidian Entertainment to push the release of the game forward, even if it meant not having time to finish the ending as originally planned. The result was that the game, though eagerly bought up by thousands of fans, did not receive quite the same delighted reviews as its predecessor; that it was criticized as incomplete, or incoherent. Its last few hours in particular were perceived as a rushed muddle of action sequences that arrived at a confusing and unsatisfying conclusion.
And so with this moderate, but not spectacular, success behind it, the “Old Republic” franchise moved on; to be resurrected again, briefly, first as a book and then as an MMORPG to go to war against World of Warcraft–a war which, like the Mandalorian Wars that form the background of KotOR II, is a futile and depressing effort from which no combatant ever returns victorious.
Obsidian Entertainment has moved on as well, most notably to the retro-futuristic Mojave wasteland of Fallout: New Vegas. Both developer and franchise have gone their separate ways; and though talk of another Obsidian-made Star Wars game surfaces now and again, it seems likely that, given Disney’s purchase of the galaxy far, far away, the darker and more mature tones Obsidian always brings to their stories may not be as welcome.
So what to make of Knights of the Old Republic II, ten years later? Now that the Star Wars film series has been ended and revived yet again, now that Mass Effect, BioWare’s spiritual successor to KotOR I, has run its course, and left its original fans as bitter as Star Wars fans dismayed at the prequel trilogy; where does that leave Obsidian’s strangely rough, brooding tale of the exiled Jedi who travels the galaxy not to defeat an Empire or rescue a princess, but to come to terms with the effects of war on the human psyche?
In spite of the name, canonical Star Wars has rarely been about war. The original film series depicts an insurrection against a tyrannical empire; but this occurs largely in a couple of battles–primarily, the story is about the Skywalker family. The prequels deal with the run-up to a war in the first two films, and the end of that war in the third, but Lucas shunted the details of the war into comic books. (A few of which were written by KotOR II creative lead, Chris Avellone.)
The Sith Lords, though, is very much about war, though not in the shallow sense of being a Call of Duty clone with a Star Wars coat of paint. KotOR II is about war in the way that The Deer Hunter is about war–it is exploring the mental and spiritual toll that war takes on everyone it touches. Or, as Kreia tells the Exile early in the game: “You are the battlefield. And if you fall, the death of the Republic will be such a quiet thing, a whisper, that shall herald the darkness to come.”
Kreia is always the focal point for any discussion of Knights of the Old Republic II, and even the game’s detractors will usually admit that she is one of the greatest characters in the history of video games. A mysterious old woman, allied neither with the Jedi nor the Sith, yet overwhelmingly knowledgeable about both, she at once fits the Star Wars tradition of the Wise Mentor and violates it utterly. She is a gadfly in the Star Wars universe, questioning everyone and everything; and by the end, the player comes to understand that her rebellion is against the Force itself; the mysterious metaphysical “energy field” which most characters accept with a (sometimes literal) hand-wave, but which she attempts to understand and destroy. Many players find it immensely satisfying to see this brown-cloaked Nietzsche slicing through the pop-philosophy of Lucas’s universe.
Kreia’s occasionally harsh criticism of the player’s actions are emblematic of one of KotOR II‘s distinctive features: namely, that it is not necessarily meant to make the player feel good. In literature, film and television, it is common for a story to leave the audience sad, or contemplative, or shocked. But games are meant to entertain; and to write one that does not simply laud the player for their victories over ever more powerful foes, but instead compels them to think about what they are doing–to think of, as Zez Kai-Ell says in the game’s pivotal scene, “all the death you caused to get here”–was a bold move, indeed.
In this way, KotOR II is the forerunner of another one of the most fascinating games released in recent years–2012’s Spec Ops: The Line. Though different in style and in tone, (not to mention that SO:TL is far more polished and graphically advanced) Yager’s dark satire of military shoot-’em-ups is at its core the same tale as KotOR II: that of a soldier who commits an atrocity and is forced to face the consequences.
But while Spec Ops is a sharp, tightly-plotted tale with every element integrated into its gripping narrative, KotOR II is less minutely-engineered, and more filled with oddities and curious plot threads which lead in unexpected directions–or sometimes nowhere at all, thanks to the content having been cut at the eleventh hour. While this makes the game seem less focused and at times even hard to follow, it also lends it a certain feeling of scope; an epic, vast implied scale that even next-generation open-world RPGs have not matched. There is a hauntingly depressing quality to the sprawling modules of Citadel station, of gloomy isolation to the corridors of Peragus, and of melancholic splendor to the partially restored surface of Telos, that creates a peculiarly memorable and powerful mood.
Of course, it’s impossible to talk about KotOR II‘s plot threads without also discussing The Sith Lords Restoration Project–the fan-made effort to restore the cut content. While interesting in its own right, and a must-play for any fan of the game, the restored content ultimately raises more questions than it answers. Some of it really is integral to the story, but other parts are relevant only as curiosities, and serve only to add unnecessary complications to the game’s already complex plot.
But even with the missing pieces restored, insofar as possible, KotOR II remains a very odd, misfit game–an exile, like its enigmatic, war-worn protagonist. If the original KotOR was an effort at making a playable version of the summer swashbuckling blockbuster epic that Star Wars helped revive, then KotOR II was an attempt at making a playable version of a more mature, David Lean-ish kind of epic. It is not designed for commercial success and records, but for critical success and acclaim. It is Oscar Bait in a medium that does not receive Oscars.
It is possible that being part of such a widely recognized franchise hurt its chances among the very people most likely to appreciate its many virtues. Critics searching for video games that prove the medium is a mature art form, not merely an entertaining diversion, can be too quick to dismiss a “mainstream” game in search of something more unusual. And few entertainment franchises show a more striking disparity between their commercial success and their reputation among critics than Star Wars.
In spite of its less-than-universal acclaim, though, KotOR II has not been completely forgotten by gamers. In 2010, it was included in the book 1001 Video Games You Must Play Before You Die. Kreia still frequently appears on lists like “best video game characters” and “best female antagonists in video games”. But it has not been considered particularly “influential”, either; certainly, it has not become a household name like, for example, Valve’s Half-Life 2, released three weeks earlier.
Much of the plot of Knights of the Old Republic II is concerned with finding that which has been lost–be it knowledge, people, or places. As Kreia explains at the end, the real “lost Jedi” the Exile has been searching for have been there all along–“they simply needed a leader and a teacher”. Similarly, the nightmarish planet of Malachor V–the site of the pivotal battle that is at the heart of the game’s entire plot–had been forgotten by the Sith Lords of times past, before being rediscovered in the Mandalorian Wars and spawning the innumerable stories of victory, heroism, defeat, death and horror that the Jedi Exile encounters on the journey across the galaxy.
And so it is fitting, as the medium matures and gamers and game critics cast about for evidence to prove its legitimacy as an art form, Star Wars: Knights of the Old Republic II: The Sith Lords sits quietly on the fringes of the game universe like Malachor V; not at the center of attention, perhaps, but still well remembered by all who have seen it firsthand.
I received an absolutely wonderful book as a gift from a friend today. It is called The Empire Striketh Back, a re-telling of the story of Star Wars: The Empire Strikes Back as if it were written by William Shakespeare. It is actually written by Ian Doescher, and I must say he did a marvelous job translating the film’s script into the language of the Bard.
There are so many things to love about this–it had me hooked from the “Dramatis Personae” page, done perfectly in the style of the plays. And then the language–well! Let me quote a little bit of the first scene, just to give you an idea:
LUKE: If flurries be the food of quests, snow on,
Belike upon this Hoth, this barren rock,
My next adventure waits.
It is really quite splendid. Probably would have made the movies better if Lucas’s rather awkward dialogue had been re-written this way. I highly recommend it to anyone who has seen the movie (and who hasn’t?) I haven’t enjoyed a parody of Great Literature this much since reading The Classics Reclassified. I highly recommend it.
The great thing about Knights of the Old Republic II, my favorite video game–heck, my favorite work of fiction–is that the fact that each character is crucial to the major thematic points of the game:
Atton alludes to the last Jedi he kills telling him of a place where Force sensitives are sent by Revan to be broken. This is almost certainly Malachor V.
Mira lost her family as a result of the battle, and that is why she became a Bounty Hunter. The Exile’s actions at Malachor shaped her in this way. As Mira says “There’s a lot of lost people out there. Scattered ever since the Mandalorian Wars… if I can find them, maybe, just maybe I can put the Galaxy back together.”
HK-47 says that, as result of the destruction at Malachor, Revan was inspired to build him. So, as he puts it, perhaps the Exile is responsible for his creation.
Visas’s homeworld was destroyed by Nihilus, who was created by Malachor, and whose fleet was hauled from it. This act has clearly left deep physical and psychological scars on Visas.
Yusanis fathered the handmaiden with the Jedi Arren Kae, and he went with her into the Mandalorian Wars, breaking his vow to his wife. This act shames the Handmaiden. Kae (apparently) died at Malachor; making Yusanis enter politics and eventually get assassinated by Revan. He may have been at Malachor, and was obviously deeply affected by the war, hence Brianna’s interest in the Exile, who is the first person she has known since her father who suffered the effects of the war, and her loyalty to Atris, which is to make up for the shame her father’s infidelity brought upon her.
Bao-Dur has feelings of guilt about Malachor that made him come to Telos to aid the recovery. He also lost his arm at Malachor. He still harbors feelings of guilt for creating and using the Mass Shadow Generator.
Mical the Disciple was turned to his path of “historian and scientist” by the decision of the Exile to go to war, when he was not chosen as a Padawan.
The Mandalorians were badly beaten in the battle, necessitating Canderous Ordo (who was also at Malachor) to take up the mantle of Mandalore and reunite the clans on Dxun.
G0-T0 exists for the purpose of rebuilding the galaxy from the war.
Even the psychotic Hanharr has heard of Malachor. As he asks the Exile: “Did you hear [the Jedi] scream as you butchered the Mandalorian tribes? Did you… kill your heart to shut them out?”
From this alone, we can see that most of the Exile’s party members would not be here were it not for the Exile’s fateful decision at Malachor. But that’s not all…
Atris was clearly very close to the Exile in the past, and was affected deeply by her decision to go to war, as well as the resulting horror of the battle of Malachor. This clearly has deep psychological effects on her, possibly contributing to her fall to the Dark side.
Darth Nihilus, the closest thing the story has to an out-and-out villain, is at least partially a creation of Malachor. He is often described the most powerful entity in the game, with his presence being felt everywhere, by everyone from Kreia to the Jedi to GO-TO to General Vaklu. (Some players complain that Nihilus is too easy to defeat in combat, after his buildup. This might have been the point, however–too everyone else, he is an unstoppable force of nature; to the Jedi Exile, he’s a pushover)
In the game’s pivotal scene, when the Exile returns to the Jedi Enclave to meet/fight the remaining Jedi, it is revealed the s/he was also deeply affected by that last battle, and forced to cut his/herself off from the Force to survive.
All this is certainly enough to prove that indeed the ramifications of the Exile’s choice at Malachor are the central point of the game. It requires many playthroughs to find them all, but the case is overwhelming. But then, in a final masterstroke we are shown other, similar decisions and their consequences play out before us, that allow us to piece together the ultimate theme of the story:
The destruction of Peragus serves as an effective opening, because it reminds the Exile, subconsciously, of the annihilation of Malachor. Furthermore, Atris, Lieutenant Grenn, the Ithorians, Colonel Tobin, GO-TO and others all comment on how the lack of fuel will harm Citadel Station. Thus, Exile must come to grips with the “echo” of the destruction of Peragus. This, the game hints, is the first time the Exile has ever truly had to confront the consequences of his/her actions. Thus, by the time she leaves Telos, the Exile has seen or been told of the consequences of two of the more remarkable acts in her life, and Atris even compares the destruction of Peragus to that of Malachor.
The scene in which the Exile chooses either to help or furiously dismiss the beggar on Nar Shaddaa is key. Kreia allows the Exile a glimpse at the consequences of his/her choice, and reveals that it is not always as clear-cut as it may appear.
Nar Shaddaa is home to refugees from both wars.
Dantooine was badly damaged as a result of the Jedi Civil War, which was itself a result of the Mandalorian Wars.
Onderon is relatively unaffected by the actions of the Exile prior to the game (though s/he fought on Dxun) but the Onderonian debate between secession and isolation and remaining in the Republic bears a close resemblance to the Exile’s choice of whether to close his/herself off from the Force or to embrace it.
Telos presents the Exile with an opportunity for redemption, in the form of whether to help the war-ravaged planet recover, or not. (Though, as we will see, the way to do that isn’t as black and white as it seems.) More immediately, in the game’s final act, the Exile is called upon to save Telos from Darth Nihilus. This episode is particularly ingenious, as forces from Onderon and Dantooine arrive to help the Exile, who wouldn’t have done so otherwise.
Of course the recovery efforts on Telos and the Political Situation on Onderon are also interdependent, as the Ithorians are repopulating Telos with the Onderonian’s and Dxun’s beasts.
Korriban presents the Exile with the cave, where s/he must confront the pivotal moments in her past, and reflect on whether s/he would do things differently.
The Ubese warriors in Visquis’s lair are bitter about the bombing the Republic wrought against them in the war, and have thus been made into “weapons”, as Visquis says. This foreshadows the creation of the Sith Lord Nihilus and his hordes by the activation of the Mass Shadow Generator, as well as Revan’s ultimate plan.
Visas, like the Exile, has, as Sion puts it “kept living while the Universe dies” around her. She has seen a planet destroyed, and it has affected her tremendously. (Of course, her planet wouldn’t have been destroyed if… see above.)
The impact of the destruction and subsequent restoration of Telos is seen in many facets of the game, from the separation of Aiada and Lootra on Nar Shaddaa, to the beast rider whose Boma escapes outside of Iziz, to the oft-repeated need for fuel for Citadel Station by everyone from Lt. Grenn to Atris to Col. Tobin, show the echoes of Saul Karath’s attack.
Telos is again threatened towards the end of the game in the battle against Lord Nihilus, and here again, the Exile sees the consequences of his/her decisions (Peragus, Dantooine, Onderon and Malachor) play out.
The entire game builds, subtly yet relentlessly, into an awesome thematic experience that shows all the consequences of Malachor, of Peragus, of Telos, of the Mandalorian Wars and ultimately, as Kreia says: “of all wars, of all tragedies that scream across the galaxy.” Again and again, consequences of actions are shown, leading up to the last planet, where the Exile must walk upon the dead planet of Malachor, and culminating in the ending scene, in which Kreia tells the Exile how his/her choices will impact the planets and people s/he has met throughout the journey. This works well, because the player has already seen the consequences of past choices throughout the game.
But the true genius is not only that the theme is so brilliantly and so pervasively intertwined with the story, but also that it does not carry any judgment. Things may be called “light” and “dark” by characters, but the player can make their own decision. Is the “independence” of Gen. Vaklu or the “cooperation” of Queen Talia better for Onderon? The pragmatic Czerka Corp. or the more spiritual Ithorians better for Telos? And the central question of the game: was the destruction of Malachor justified? It killed many, and ruined the lives of many more. On the other hand, would not countless more have died if the war had not ended, as the Exile can argue? And anyway, if not for Malachor, Mira, Atton, Bao-Dur, Mandalore, Brianna and Visas would not be around to help the Exile on the journey. And perhaps the most widely asked question: Is Kreia a Jedi or a Sith, good or evil? It must be played through many times, and the player must make many different choices, but the game’s theme remains awesomely consistent no matter how the game is played.
People complain about the game’s ending, but frankly, I found it perfectly coherent and satisfying, once I understood all these concepts. It’s actually one of the best endings I’ve ever seen in a video game.
“The fans are all upset. They’re always going to be upset. Why did he do it like this? And why didn’t he do it like this? They write their own movie, and then, if you don’t do their movie, they get upset about it.”–George Lucas
I was thinking a bit more about the Mass Effect 3ending. I may do a post later on with my thoughts on it specifically, but while I was thinking about it, the idea occurred to me that it was so disappointing because it was so anticipated. Fans had years to think about how the Mass Effect series would end; and so whatever happened would likely disappoint them. It is an intrinsically bad ending, don’t get me wrong, but its badness was amplified by how much everyone had been thinking about it.
The same thing happened, for me anyway, with the Harry Potterseries. A big plot point, discussed by fans and even used in the advance marketing of the last book was “is Snape good or evil”? Everybody had two years to think about this question, and we all knew what was going to happen. Even if you bet on the wrong outcome, chances were you’d heard alternate theories that turned out to be correct. It may have made it sell better to promote the debate, but it weakened the book’s dramatic power.
It’s hard to surprise your audience with twists when you are telling a story with long intervals between each installment. The only way out is to not leave clues to what’s coming, but then the endings or plot twists will feel unsatisfying; like they just came out of nowhere. The best plot resolutions have to have been logically set up beforehand.
Sometimes a writer can stumble on some good twist in the middle of a series. For instance, few people see the famous twist in The Empire Strikes Back coming, unless someone has spoiled them on it. I’ve heard that this is because George Lucas only decided to do it after A New Hope was released, so he hadn’t left enough clues to give it away before hand, but was able to satisfactorily retrofit his twist on to the second film with the vague setup given in the first. But he was very lucky.
Lucas also didn’t have the internet to contend with. If he had, some random fan probably would have accurately guessed the ending by pure chance while speculating on some forum. I see this as the inevitable fate of the Half-Lifevideo game series: if they ever do release Half-Life 3, there is no way someone won’t have already guessed what the deal is with the G-Man and posted a huge essay about their theories to be discussed on some forum.
There’s no question that internet fandom has intensified this problem; for it enables like-minded people to interact and ponder their favorite series. I don’t think this was as much of a problem before the internet, even though there were stories that appeared in installments in magazines and the like.
This problem is lessened a bit if you are not doing a sequel that directly continues a particular story. J.J. Abrams was very smart to come up with the alternate timeline business for his new Star Trekmovies, because it pretty much allowed him to do whatever he wanted. And although it still does not really live up to its title, I think a lot of criticism from Falloutfans of Fallout 3 was blunted because it was set far away from the other games. In other words, it’s easier to do a series that is a loosely-related group of stories in a certain setting or around a set of themes than it is to tell one coherent story over installments. And it’s easiest of all to just tell your story in one shot. To bring us back to Mass Effect 3, I’m convinced that had they condensed the story of the whole series into one game–with the same endings–they would have gotten way fewer complaints. On the other hand, they also would have made less money.
I’m not saying this is necessarily bad news–for one thing, if I understand correctly, EA can still publish games that other developers make. To my mind, it could be good or bad.
I’ve been thinking about the Mass Effect series again, and how weirdly uneven it was for a trilogy that was supposedly mapped out in advance. The first Mass Effect had a very interesting story, but the gameplay was a little wonky, at least to people like me who aren’t really familiar with RPG mechanics. Combat in ME1 feels very awkward.
Then Mass Effect 2 streamlined the combat, making it much more like the popular Gears of War series. The hardcore RPG people may disagree, but I think this made for a superior game, even if they had to mess with some established background information of the setting to make it work. ME 2 is still my favorite in the series, even though parts of the story don’t make sense. And I think it’s interesting that EA acquired BioWare between ME1 and 2, and in the latter, the game suddenly became much more accessible to the average gamer.
So, I think we have a pretty good roadmap already for what is going to happen to a beloved science-fiction franchise whose video games department is now being run by EA. But wait! There’s more!
Everyone thinks that this means Star Wars game will become increasingly Call of Duty-like, and you will see a lot of polished but simplistic games. Pretty much everyone feels that the Battlefront series or something like it will be making a comeback. And why not? If EA can make something Star Wars themed that can compete with the highest-grossing game series in history, why wouldn’t they?
This isn’t so bad, really. Battlefront was a fun game. It’s just that I think everyone feels EA is just too big, and when a company gets that big, it’s hard for them to function the right way. They can keep making money off of AAA blockbuster games for a while yet, but they can’t really innovate, because that involves risk. Which means we probably won’t be seeing any deep, philosophical, Star Wars RPGs like the great Knights of the Old Republic II anytime soon.
But more than that, there are indications that EA is just generally mismanaged. As Shamus Young says in that article, they are not running their company as well as they might, just from a pure business point of view. However, I think their model is sustainable for the near-term future. Star Wars has been popular since the 1970s–people will continue to buy any heavily-hyped game that ties with that franchise for a few more years. This is where we see the similarity to EA’s NFL license monopoly–the NFL has been popular since the 1960s, and for those who play sports games, it’s the only show in town.
The difference, of course, is that the NFL, while not technically a monopoly is the only widely-watched pro football league in America. Star Wars is not the only major science-fiction franchise. There are still more of those to compete with Star Wars games.
That’s why I think the monopoly on Star Wars has a greater chance of blowing up in EA’s face than their NFL monopoly–the latter is essentially a monopoly on a near-monopoly, because the NFL controls a huge amount of market share in the market for football. EA is building off of that. But it’s different with the market for sci-fi games–it’s more of an oligopoly, with just a few competitors: Star Wars, Star Trek, and so on.
If we assume that consumers are indifferent as to which science-fiction franchise’s video games they choose to spend money on, this means there is still an element of competition in the market. But, of course, not all consumers are not indifferent–they have preferences for franchises. So, I want Star Wars to have the better video games, among other reasons, to show up the Trekkies. (Not that I dislike Star Trek, but still.) Branding is always very important in oligopolies.
The point is, this arrangement coupled with EA’s past problems with understanding different markets as mentioned in the Shamus Young article linked above and… well, the title of this post says it all.
I have a question: if the nearly universally despised prequel movies “ruined” Star Wars, how is it that the 1960s-era Adam West show didn’t ruin Batman? People keep telling me that the new Batman movies, especially The Dark Knight, are great. I wouldn’t know, having never seen them. The only Batman thing I’m really familiar with is the ’60s show, and I can see at a glance that its tone is utterly incompatible with the grim new movies.
If Jar Jar Binks is so damaging to the franchise that includes The Empire Strikes Back, then surely Vincent Price’s Egghead cannot exist in the same franchise that includes Heath Ledger’s Joker. Is the difference simply that The Dark Knight series came after the Adam West series? So, franchises are only permitted to get thematically darker as they go on, never lighter; is that it? Or is it that the Batman thing is a “reboot”, whereas the prequels aren’t?
I was too busy to address this when the news broke; but let me just say that I think the Star Wars/Disney thing is terrific news. I am an avid, if somewhat unorthodox, Star Wars fan. I like the prequels more than the originals. I think most of the “Special Edition” changes were good. I think the end of KotOR II is perfect, and that the game as a whole is the best thing ever set in the Star Wars universe.
Many fans are worried about it; they’re scared it will “ruin” Star Wars. Star Wars fans are, I have come to realize, about the most fragile bunch of pessimistic nervous Nellies I’ve ever seen. Honestly, they’re worse than Democrats when it comes to having no confidence in their own side.
I’m not saying it’s a sure thing that the new movie will be good. Maybe it will be worse than the “Holiday Special”. But Star Wars isn’t going to continue at all unless somebody is willing to take some risks. It all goes back to what I said here, during the most recent existential threat to Star Wars.
Sure, it won’t be exactly like A New Hope all over again, but so what? As a melancholy Vrook remarks to Zez-Kai Ell in KotOR II when they return to the destroyed Jedi Enclave: “It is not as it was…” And as Zez-Kai Ell thoughtfully responds: “But, perhaps, that is for the best.”