Last week, the first teaser trailer for Rogue One: A Star Wars Story hit the internet. If you somehow managed to miss it, you can watch it below. ScreenRant also has a great breakdown of the trailer here, as does io9 here, if you aren’t in a place where you can watch YouTube videos.
Scheduled for release in December, Rogue One is set just before the events of A New Hope (1977), the very first Star Wars film. Fittingly, the plot for Rogue One is taken straight from A New Hope’s opening crawl:
It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire.
During the battle, Rebel spies managed to steal secret plans to the Empire’s ultimate weapon, the DEATH STAR, an armored space station with enough power to destroy an entire planet.
As Lucasfilm company president Kathleen Kennedy puts it, ‘In the case of Rogue One, we’re essentially making a period piece’, which is set both in a galaxy far, far away and in the retro-futuristic world of 1970s Hollywood cinema. Rather than marketing it as a dreaded ‘prequel’, however, Disney is instead approaching the film as a standalone Star Wars story with ‘a different sensibility’, and a new perspective.
How exactly? Well, unlike the previous seven films, Rogue One will not follow the legacy of the Skywalker family. In fact, neither Rogue One or the other planned standalone films will cross over with the regular, episode-based saga at all. This sets them somewhat apart from the films in the Marvel universe, which tends to liberally sprinkle in the cameos. The tone of Rogue One is allegedly darker and morally grey, the genre is more ‘grand heist’ or ‘war movie’ than ‘space opera’, and the story is more personal. Basically, Rogue One is about some of the bit players in the bigger, more epic story the films in the main canon portray.
Jared Petty over at IGN prefaces his (very interesting, if brief) review of the trailer with the following words:
We’re a long way from the Mos Eisley cantina…there’s nary an alien or monster to be seen in the teaser trailer. There’s not a sign of Jedi, Sith, lightsabers, space battles, dogfights, or any of the other staples I’ve come to expect from Star Wars. Except for Mon Mothma, not a single familiar face appears, though I’ll be shocked if we don’t see at least a glimpse of Vader in the final product.
For Petty, then, while the Rogue One might still be a Star Wars film from an aesthetic perspective, and in the sense than it is set in the same universe, it takes a new approach to the franchise’s tone, genre, and central themes. Personally, I’m not sure whether this is the case, though admittedly I come to the new Star Wars films from a different perspective than many viewers: as a long-time, and rather highly involved fan. I have seen the Star Wars universe take numerous different forms, both inside and outside of ‘canon’ (a contested term these days) and have participated in creating some of them myself.
Channelling me some Jyn Erso. #RogueOne #StarWars #REBELLION #EarlGrey pic.twitter.com/SGeYbMzMvc
— Megen de Bruin-Molé (@MegenJM) April 13, 2016
Jared Petty may well be in the same situation (possibly minus the Earl Grey), and I’m sure he doesn’t mean to make any kind of value judgement here. Quite the opposite – he seems very positive about the possibilities Rogue One signals, precisely because of its apparent willingness to go in untested directions. Towards the end of his review, however, he makes a noteworthy statement that echoes what a lot of people, including Kathleen Kennedy, have been saying about Disney’s plans for future standalone Star Wars films:
If it works, Rogue One will open the door for other kinds of tales to be told in the Star Wars galaxy: scary stories, exploration epics, true romances, maybe even more comedic and deeper dramatic experiments.
While true, from a certain point of view, Petty’s statement is basically still predicated on the assumption that the Star Wars films are the only real Star Wars stories. While this may be a valid assumption, given that the films are all most people know of the franchise, many of the official Star Wars comics, television shows, and (before they were redacted from Star Wars canon) the material of the Expanded Universe have played with genre and tone, and have explored the world from the perspective of minor characters. These stories may not be ‘canon’, but they have made an impact on many past and current fans. One example childhood me remembers with particular fondness is Tales from Jabba’s Palace (1995), part of a series of short story anthologies that focused on minor characters from the original Star Wars trilogy.
The Rogue One teaser itself already contains a number of references to obscure fan favourites from the original trilogy, like Mon Mothma or the Gonk droid. This suggests that the film, like The Force Awakens, will do its best not to alienate its hardcore fanbase. In addition to downplaying the stories told off the big screen, however, the idea that Rogue One will be a completely new type of Star Wars story ignores the ways in which the film’s entire approach to the Star Wars galaxy has actually been replicated many times over in fan culture.
By this I’m not at all trying to say that the Star Wars franchise needs to pander to the fan community’s every whim, or that it must stick to any kind of canon. I am simply intrigued by the way that now, more than ever before, the most prominent parts of Star Wars ‘canon’ are coming to resemble the fan creations it has been inspiring for many, many years.
Story from the perspective of a minor, unnamed, or practically nonexistent character in the original film trilogy? Check. Darker, more adult overtones? Check. Fills in gaps and stories hinted at by ‘canonical’ stories? Check. Wild genre shifts? Check. Strong female lead? Check. Fandom has done it all many times over. If people thought that The Force Awakens was essentially fan fiction, what will they make of Rogue One? It’s likely that most won’t even be aware of the similarities it bears to fan-led productions. Others might make the familiar move of classifying it as homage or transformative fiction, rather than fanfic.
In part, this shift into what is essentially ‘professional’ fan fiction no doubt comes simply because many of the people now working for Lucasfilm and Disney were themselves massive fans of Star Wars – both as children and as adults. They were always fans in the commonly understood sense of the word, but now they are also professionals. Hollywood, and Star Wars in particular, are getting very good at mining both fan culture and independent film for creative talent. This was also evident in the appointment of relative newcomer Gareth Edwards (Monsters, Godzilla) to direct Rogue One.
In general, Lucasfilm has treated its fanbase in a welcoming and encouraging way. This is of course not without ulterior motives, restrictions, and gender biases, as Henry Jenkins already pointed out many years ago. In any case, the people who once wrote the fanfic now regularly write the ‘real’ thing.
So who decides what is a ‘real’ Star Wars story, and what is not? Technically, that job falls to Pablo Hidalgo, who works as part of Lucasfilm Story Group to make sure each new story fits together coherently with the others. Hidalgo, himself a founding member of the Star Wars Fanboy Association, answers the question of what makes something canon in less than 130 characters:
When you ask ‘is it canon?’ The answer means ‘do other storytellers need to take it into account?’ That’s all the answer means.
— Pablo Hidalgo (@pablohidalgo) March 24, 2016
I would argue that Disney most certainly needs to take the huge body of stories that already exist into account. We’ve already seen how mild fan blowback about the elimination of the Expanded Universe stories from canon has threatened to spill over into the ‘real world’. Disney seems highly sensitive to the fact that fan opinion matters, and I don’t think it’s unreasonable to expect them to cater to this group however they are able. What’s more, I think that is exactly what they are doing as they construct these spinoff stories, though perhaps not in the way we expected. I am incredibly interested in the extent to which Rogue One will come to resemble a piece of fan art, and there may well be follow-up posts to this effect. It is an exiting time to be a fan, and an especially exciting time to be a Star Wars fan.
I will also be closely following the ways in which Disney capitalises on the fan community to inspire, create, and market both this and future spinoff films. Things are off to an intriguing start, as it was recently announced that Gareth Edwards, Rogue One co-producer John Swartz, and executive producer John Knoll will be judges for this year’s Star Wars Fan Film Awards. Who knows – a winner of this year’s award may even, in a few years’ time, see his name (the winners are almost always male) in the credits of a canonical Star Wars film. In the wake of the Rogue One trailer, several professional artists (some working for various Star Wars properties) also tweeted fan renditions of the film to fellow fans – but also, inevitably, to customers.
~~ ROGUE ONE ~~
Yep. #RogueOne #StarWars @starwars pic.twitter.com/s0yzkR1t6w
— FrancescoFrancavilla (@f_francavilla) April 7, 2016
I couldn’t help myself… pic.twitter.com/wtCWchFIne
— Phil Noto (@philnoto) April 8, 2016
The line between ‘profic’ and fanfic is becoming increasingly blurred.
What do you think? Is this an accurate reading of Rogue One, or do you see something different going on? Let me know in the comments, or on Twitter.
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