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sebastianvarghese · 5 months

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Digital Media and significance

Digital Media Sources & significances

Academic blog

Sources and Significance | Blog post #1

For the blog post, I’d like to analyse the strategies of Realism in the film “The Jungle Book”

Disney's reimagining of The Jungle Book using computer animation has brought the classic story to life in a breath-taking way. Through the vibrant depiction of a jungle teeming with an array of animals and a stunning landscape, audiences are transported into a world that feels both familiar and fantastical. Neel Sethi's portrayal of Mowgli, a young boy raised by wolves, adds a captivating presence to the movie's live-action sequences.

The character's design and animation capture the essence of danger and fear, making Shere Khan one of the most captivating and intimidating animated characters in recent memory. The attention to detail in the animation is impressive, as each animal behaves and moves according to its natural instincts gives a realistic feeling for the viewers. Seeing Baloo the bear embody the mannerisms and behaviours of a bear add an authentic touch to the storytelling. The same can be said for the wolves, who exhibit pack dynamics and interactions that are true to their real-life counterparts.

Director Jon Favreau based this character on an extinct ancestor of orangutans, adding an interesting twist to the realism of the film's setting. Though slightly creepy and funny, King Louie is an unforgettable character that showcases the film's ability to infuse fantasy into a world that is mostly grounded in reality.

Although the realistic appearance of the animals and the genuine threat they pose may be intimidating for younger viewers, The Jungle Book has been embraced by older children and teenagers aged 12-18. This modern family adventure breathes new life into an old, classic tale, capturing the hearts of audiences both young and old. The Jungle Book is a testament to the timeless appeal and enduring magic of storytelling.

Sources and Significance | Blog post #2

In this I’d like to use the theories we learned about Affect toanalyse how movies affects the emotions of the viewers. Here I would like to take the movie Coco as an example. Coco is an incredibly emotional and touching movie, not only left a lasting impact but also reminds the profound power of storytelling. Through its beautiful cinematography and heart-wrenching storyline, it showcased how movies have the ability to deeply touch our hearts, and in doing so, connect us to our own experiences and emotions in a way that few other mediums can.

One of the most notable impacts of animation is the incredible emotional response it can evoke in viewers. Regardless of the specific emotion, be it joy, sadness, fear, or excitement, animated media possesses a profound ability to elicit intense emotions and captivate us on a much deeper and meaningful level. This heightened emotional engagement surpasses our usual reaction to traditional media and fosters a uniquely immersive experience. One of the most emotional scenes in the movie was when Miguel, a young boy with a passion for music, sings the song “Remember Me” to his great-grandmother Coco. Despite her struggle with dementia and her difficulty remembering her past, Miguel's heartfelt performance triggers a powerful reaction in Coco. As the lyrics of the song resonate with her, long-lost memories of her father, who was a talented musician, come rushing back to her. The scene is portrayed with such raw emotion and tenderness that it deeply moves the audience. I found it incredibly touching and couldn't help but be moved to tears by this heartfelt moment.

The movie not only delves into meaningful themes of family, tradition, and the profound impact of music in forging connections across generations, but it also resonated deeply with me personally. Coming from a family enriched with a vibrant cultural heritage, I found a genuine connection to the pivotal message of upholding and safeguarding traditions, all while relentlessly pursuing one's aspirations and deepest passions.

Reference

Moni (2023) Coco: emotional journey of family, tradition, and music. https://www.withlovemoni.com/coco-emotional-journey-of-family-tradition-and-music/.

Sources and Significance | Blog post #3

In this blog post I would like to analyse the theory of culture and race in the animation movie ‘Raya and the last Dragon’

Raya and the Last Dragon is a visually stunning and captivating fantasy film set in the enchanting and diverse fictional land of Kumandra. This breath-taking world is wonderfully crafted, drawing inspiration from the vibrant and rich cultures found in Southeast Asia. From the intricate details of the costumes to the mesmerizing landscapes, every aspect of the film immerses the audience in this exquisitely imagined setting.

Kumandra, a richly imagined and enchanting fictional land, draws its inspiration from the captivating and diverse cultures of Southeast Asia, as highlighted by talented writer Adele Lim. In their ambitious quest to create a truly magical and captivating world, Disney sought to blend together influences from multiple European nations, much like the fabled tales of King Arthur and the Knights of the Round Table. This remarkable film, Raya and the Last Dragon, wholeheartedly celebrates the vibrant and intricate tapestry of Southeast Asian culture, presenting young audiences with legendary heroes who embody bravery, resilience, and the power of unity. Lim, in particular, commends the awe-inspiring amalgamation of Southeast Asian traditions, from the mesmerizing arts to the tantalizing street food, resulting in something truly transcendent and extraordinary. The cast and crew wholeheartedly concur, emphasizing that those with a Southeast Asian cultural background will discover a profound sense of representation and connection in the extraordinary world of Raya and the Last Dragon.

In the production of Raya and the Last Dragon, director Nguyen took great care in diversifying the fighting styles depicted in the film. He made it a point to ensure that the martial arts techniques utilized by the characters Raya and Namaari were in line with the Southeast Asian influences that inspired the movie. This attention to detail added an extra layer of authenticity and cultural richness to the fight scenes.

References

Koeppel, K. (2022) 'Southeast Asian cultural representation in Disney’s Raya and The Last Dragon,' Disney News, 21 July. https://news.disney.com/southeast-asian-culture-in-raya-and-the-last-dragon.

Sources and Significance | Blog post #4

In my analysis, I am interested in utilizing the principles of Realism. Here I would like to take the film Lion King as an example.

In addition to the differences in colour and imagery, the realistic approach in the new Lion King also affects the overall narrative of the story. One of the most significant instances of this is seen in the wildebeest stampede scene, which leads to Mufasa's tragic death. In the original film, this scene was a thrilling and emotionally-charged set piece, with Simba desperately fighting to survive and Mufasa sacrificing himself to save his son from Scar's betrayal. It was a scene that left a lasting impact on many young viewers and was effective due to its technical brilliance, heightened by the intense sound mixing and Hans Zimmer's powerful score. The animators took creative liberties with the speed and physical abilities of the animals, prioritizing the tension and emotions of the moment over strict realism.

In the remake, the animals are portrayed as making realistic animal faces instead of expressing emotion like humans do. This choice prevents them from effectively emoting, as they did in the original film. Throughout the remake, the characters deliver lines from the original version, relying on viewers who are familiar with the plot to understand their emotions. However, the characters fail to express the very emotions they are feeling in a given scene. For example, when Scar is plotting, his face remains blank, essentially re-enacting lines rather than clearly demonstrating his cunning and evil qualities, which were so effectively expressed in the original. Similarly, Simba, a character who experiences a wide range of emotions in the 1994 film, is depicted as a realistic CGI lion cub in the remake. Consequently, his reaction to the stampede and Mufasa's death lacks the horror and emotional weight that was so pivotal in the original film. Instead of conveying anguish, the new version of Simba simply appears to be a cat "mewing," which undermines the emotional core of the film. The decision to prioritize realism in this adaptation unfortunately works against the film's ability to convey emotions effectively.

Reference

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Sources and Significance | Blog post #5

In this blog I would like to examine the Transmedia. Here I took ‘Game of Thrones’as an example.

The Game of Thrones franchise is a prime example of transmedia storytelling. This is because while the core story is told through the Song of Ice and Fire book series, there is an array of other media across various platforms that contribute to the overall narrative and the captivating world of Westeros. Transmedia storytelling, as described by Henry Jenkins, is the clever technique of integrating multiple forms of narrative to create an expansive storytelling experience that extends beyond a single medium. Essentially, this is precisely what the Game of Thrones franchise strives to achieve.

In addition to the book series, the franchise includes a widely popular television show adaptation. This adaptation showcases different characters and storylines, and in some instances, introduces significant additions or alterations to the central plot points or events. Furthermore, there are numerous novellas within the franchise, which introduce new characters or provide insights into past events that have influenced the main series. Additionally, there is a comic book adaptation of the first book, various companion books that delve into the rich history of Westeros, as well as art books, cookbooks, board games, card games, and multiple video games that explore unique aspects of the captivating world.

Each of these diverse media platforms within the franchise contributes to "generating new experiences for consumers and broadening the entry points into the franchise" (Jenkins 105). Although some media platforms excel in expanding the narrative (such as the television show, the novellas, and the companion books, which undoubtedly introduce new content that enriches the world), others, like the games, may or may not provide new information. Nevertheless, when combined, all of these various forms of media create a narrative and a world that extends far beyond the confines of the initial book series. It's worth noting that most of these additional media are not directly controlled by the original creator, George R. R. Martin, and thus they may not always align perfectly with the original work.

As a whole, the multitude of media within the Game of Thrones franchise successfully accomplishes what Henry Jenkins defines as 'world-building'—adding depth, details, and coherence to different parts of the world to make it more immersive and believable. Without the historical companion books or the novellas that delve into and explain past events that shaped the book series, the world of Westeros would not possess the vastness or the captivating allure that it currently holds.

Reference

Jenkins, Henry. Convergence Culture. New York: New York University Press, 2006.

10: Transmedia Storytelling and Game of Thrones – Digital publishing (2018). https://wordpress.susqu.edu/engl390/2018/04/03/10-transmedia-storytelling-and-game-of-thrones/.

Sources and Significance | Blog post #6

Realism. It’s a very big concept, and there’re many programmes for Realism, one of which is Animation. Therefore I’d like to discuss Realism in the film Godzilla vs Kingkong

In regards to the question of whether anyone was eagerly anticipating the climax of the MonsterVerse franchise, Godzilla vs Kong, it is worth considering the limited awareness and recognition of the franchise itself. Beyond the realm of avid consumers of media news blogs, there appears to be a lack of widespread knowledge about the existence of the "MonsterVerse" as a cohesive entity. Moreover, the previous films in the franchise have had mixed receptions, with the 2014 Godzilla film receiving both praise and criticism, Kong: Skull Island being celebrated as fun entertainment without leaving a lasting impression, and Godzilla: King of the Monsters performing poorly at the box office while disappointing fans of the genre. This unfavorable reception places Godzilla vs Kong in a challenging position as the immediate follow-up to an underperforming and generally disliked movie.

To put it differently, I find myself siding with the perspective that Godzilla vs Kong is merely a happening rather than a truly magical and transported piece of popcorn movie escapism. By examining the film's story and screenplay, attributed to five different individuals and possibly more (excluding director Adam Wingard, who lacks a distinct imprint on the film), it becomes apparent that the screenplay is tremendously flawed. It shares the common sin of the franchise, which involves unbearably dull human characters whose personal drama disrupts the seamless flow of a giant monster spectacle. Furthermore, the screenplay suffers from a disastrously convoluted structure, layering on indecipherable technobabble that would make even an episode of Star Trek: Voyager blush.

Essentially, Godzilla vs Kong serves as both a 40-years-later sequel to Skull Island and a 5-years-later follow-up to King of the Monsters. However, these two storylines fail to properly intersect or cohesively blend together, even when their characters occupy the same sets during the final scenes. Consequently, the film feels like an amalgamation of unrelated elements, resulting in a jagged and disjointed narrative. Fortunately, the Skull Island sequel offers a more compelling storyline and receives more significant focus (I was genuinely surprised by the apparent preference for Kong over Godzilla, which poses challenges as both creatures are expected to equally engage the audience). The biologist Ilene Andrews and eccentric scientist Nathan Lind team up to transport Kong to the hollow center of the Earth, a concept that receives more attention and development compared to its previous passing references. The journey leads them to a visually stunning and conceptually fascinating primeval realm, featuring warped gravity and evocative pulp fantasy design. Additionally, Ilene has adopted a deaf and mute child named Jia, who forms a psychic bond with Kong. While not personally drawn to the inclusion of psychic connections and child characters in kaiju films, I acknowledge that Jia's unique characteristics at least spare us from inane babbling.

Reference

Brayton, T. and Brayton, T. (2022) 'Godzilla vs Kong (2021),' Alternate Ending, 6 February. https://www.alternateending.com/2021/04/godzilla-vs-kong-2021.html.

Sources and Significance | Blog post #7

In this blog I would like to use the theory of semiotics in the movie zootopia.

Overall, the movie ‘Zootopia’ showcases a brilliant use of semiotic analysis in its portrayal of animal characters. Animals have long been used in stories, especially in animation and children's books, but their portrayal often relies on traditional folktales and myths rather than their actual characteristics. Charles Sanders Peirce's concept of symbolic signification is evident in the way animals are given arbitrary and conventional traits. For example, rabbits are typically seen as cute, quick, and timid, while foxes are often associated with traits like slyness, dishonesty, and mischief. Lions are portrayed as proud, masculine, and brave, while sheep are perceived as harmless, passive, and unintelligent.

In ‘Zootopia’, the movie initially embraces these stereotypes, allowing the characters to appear as expected. However, what sets the film apart is its self-awareness of these stereotypes, resulting in a unique satisfaction for the viewers. The relationship between the rabbit character, Judy, and the fox character, Nick, is particularly interesting and dynamic because rabbits are typically preyed upon by foxes. In traditional storybooks, a rabbit and a fox are not usually depicted as friends or allies. The growth of their friendship adds depth to their characters, as Judy learns to empathize with Nick's experience of discrimination as a predator.

Expanding on John Fiske's theory about denotation and connotation, we can further analyze the character traits in ‘Zootopia’. Denotation refers to what is visually represented, while connotation encompasses the symbolic meaning attributed to those representations. For example, Nick, as a fox, is denoted by his physical appearance, such as his humanized form wearing a loose shirt and tie. However, the connotation associated with Nick includes traits like being sly, mischievous, and a con-artist in a city. This reflects the myth that foxes are often portrayed as evil villains in popular culture.

As the story unfolds, it becomes evident that the characters in Zootopia are not simply defined by their initial stereotypes. Judy is not just a cute timid bunny; she proves herself to be a courageous and determined police officer who never gives up. Nick is not just a dishonest con-artist; he possesses intelligence, quick-thinking abilities, and a sense of justice. The lion mayor, despite his charming and confident public image, can be ignorant and mean towards his workers. Even the seemingly harmless sheep, Bellwether, is revealed to be a terrifying and ambitious mastermind. These shifts in the characters' true nature serve as a metaphor for the complexity of human society. It challenges the preconceived notions society holds about certain groups of people based on how they are portrayed, highlighting the fact that individuals may be completely different from their stereotypes.

The use of semiotic analysis in Zootopia allows viewers to question and challenge social assumptions. By denaturalizing these assumptions, the film encourages us to ponder why we think and feel a certain way about certain groups. It raises expectations regarding the typical traits associated with these animals; only to cleverly break these stereotypes as the story unfolds, redefining their semiotic meanings. This serves as a powerful reminder that representation in society is subjective and often rooted in societal perceptions rather than reality.

In conclusion, the movie Zootopia successfully employs semiotic analysis to portray its animal characters in a clever way while also drawing metaphorical parallels to human society and breaking character stereotypes. It sparks thoughtful discussions on social assumptions and challenges viewers' perceptions, making it an exceptional example of the hidden messages that can be found in films and media.

Sources and Significance | Blog post #8

In this blog I am going to analyze the theory of narrative in the game 'God of War'

This paper aims to understand the nature of narrative in games using a methodology inspired by humanist approaches. Humanists and social scientists approach game studies differently, with a methodological divide between formal and informal methods and a divergence in their conception of the role of the player. A humanist game scholar sees the player as a necessary but uncontrollable part of creating ludic meaning, while a social scientist views the player as a historical, situated, and flesh-and-blood entity.

Furthermore, within this study, there is an alignment with the narratologists' school of thought, which focuses on the mapping of narrative elements in a game series. In order to achieve this, the methodology will rely on informal methods, including close-reading and case-study-based approaches. Mayra (2008) suggests that a structuralist position applied to the academic study of videogames should primarily focus on exploring the "signifying potentials". This involves identifying the most significant signs within the game, describing how these signs combine into larger structures, and ultimately interpreting how meaning is produced within the context of the sign system.

It is important to note that within this study, games are treated as texts. Therefore, textual analysis plays a crucial role in examining games as complex and multimodal signs, constituted by other signs. Additionally, discourse analysis aims to uncover how conventions within these games make certain ways of representing or thinking appear as self-evident and natural, with particular attention to the power relations embedded within them.

Moreover, in light of the episodic nature of video games and the way they gradually reveal their stories to the player, Dovey and Kennedy (2006) suggest a return to more primitive forms of storytelling, such as folktales and hero's journeys. In order to test this assertion, a comparison will be made between the narrative structures found within these games and Campbell's monomyth.

Reference

View of Analysing God of War: A Hero’s Journey | Eludamos: Journal for Computer Game Culture (no date). https://eludamos.org/index.php/eludamos/article/view/vol7no1-5/7-1-5-html.

Sources and Significance | Blog post #9

In this blog I would like to discuss the effect on media due to the emergence of VR and AR.

VR/AR technology is truly revolutionizing the broadcasting and streaming industries, as it provides viewers with an unparalleled immersive experience. By creating rich and captivating content, such as awe-inspiring 360-degree videos, interactive sports coverage that puts fans right at the center of the action, and virtual reality music concerts that make you feel like you're standing next to your favorite artist, VR/AR allows viewers to forge a profound and genuine connection with the content they consume.

Moreover, one of the remarkable aspects of VR/AR is its ability to engage viewers on a much deeper level. By incorporating interactive elements, such as real-time polls, live comments, and even entertaining quizzes, VR/AR keeps viewers actively involved throughout the entire experience. This high level of engagement not only captivates viewers but also ensures that they remain fully tuned in to the content being presented.

As if that weren't enough, VR/AR technology also plays a crucial role in enabling broadcasters and streaming services to differentiate themselves from their competitors. With the ability to offer unique and immersive experiences that go beyond traditional broadcasting, VR/AR creates a whole new world of possibilities for content creators. By harnessing this technology, broadcasters and streaming services can attract a broader audience, including those seeking more dynamic and engaging forms of media consumption. This, in turn, helps them maintain a loyal viewer base while also enticing new viewers to join their ranks.

In conclusion, the numerous benefits of VR/AR technology make it an invaluable tool for the broadcasting and streaming media industries. Its ability to provide immersive experiences, engage viewers on a deeper level, and offer unique and captivating content ensures that VR/AR will continue to play a prominent role in the future of media consumption.

Reference

Technology, P. and Technology, P. (2023) The Future of Entertainment: How VR and AR will change the way we consume media - PlayBox Technology. https://playboxtechnology.com/2023/06/the-future-of-entertainment-how-vr-and-ar-will-change-the-way-we-consume-media/#:~:text=Ultimately%2C%20VR%2FAR%20technology%20will,way%20they%20never%20have%20before.

Sources and Significance | Blog post #10

In this blog I would like to analyze the character identity of wonder woman in film

Wonder Woman is a feminist movie that achieves this through two subtle ways. The first subtle way is the way the film is shot, with Gal Gadot as Wonder Woman, a former model and beauty queen, and her character portrayed as both an athlete and a warrior. This subtle difference sets her apart from Scarlett Johansson's character Black Widow, who is also a badass but often lingers on her as she walks away, emphasizing her physical appearance rather than her abilities.

In addition to being a commercial success, the film's positive reception has resulted in an increased demand for female directors in superhero films. This is a noteworthy development as it broadens the available talent pool and introduces new perspectives into the genre. Unlike some films that aim for applause lines or rely on clichés, "Wonder Woman" remains focused on telling a compelling story rather than pandering to stereotypes and expectations, much like "Return of the King" and its "I am no man" line.

While the subtle aspects of the movie contribute to its feminist message, there are also more overt elements that cement its status as a feminist film. One such element is the portrayal of Wonder Woman as a normal superhero, without drawing attention to the uncommonness of a female lead. Diana, as the "Chosen One," is born with extraordinary abilities that she must utilize to fulfill her noble destiny, which sets her apart from other iconic pop culture characters like Luke Skywalker, Harry Potter, and Neo. Comparatively, "Buffy the Vampire Slayer," a popular TV show from the late 90s and early 2000s, lacks the global impact of a blockbuster movie.

Ultimately, what makes the idea of seeing a girl portrayed as the Chosen One in "Wonder Woman" appealing is that it allows young girls to witness a genuine hero who rises to the occasion because it is the right thing to do, and because she possesses the unique qualities to fulfill the role. This mirrors the same spirit as beloved heroes like Spiderman who step up to do what's right without hesitation. It empowers young girls by showing them that they, too, can be courageous and make a difference in the world.

Reference

Grossman, N. (2018) 'Wonder Woman, Identity, and the value of representation,' Medium, 13 April. https://medium.com/arc-digital/wonder-woman-identity-and-the-value-of-representation-5b3e1cc51b98.

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writingforfun0714 · 1 year

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Hi all I wanna talk about the Star Wars Celebration 2023 so-

Warnings: Spoilers, long post, not a fic, idk what else

SPOILERS!!!! SPOILERS RELATED TO ANY/ALL NEW STAR WARS CONTENT!!!

So I wasn’t really aware of Star Wars Celebration this year cuz my b-day was Friday and this past Sunday was Easter so you can bet I was excited to see the live streamed videos on Youtube. After going through most videos available, I started going online and looking at different articles and whatnot (I also saw those vids of KK walking out on stage to quiet/shame applause lol).

I hate KK with a passion so I’ve been unsure about new Star Wars projects but from what little I’ve seen, I definitely feel a bit better about the future of Star Wars (and hope KK is on her way out).

I’d like to talk about Ahsoka (live action) first. I love the concept of continuing the Rebels story. I enjoy Rebels. Not as much as Clone Wars and is about tied with Tales of the Jedi, but I definitely enjoy Rebels more than Bad Batch (which I’ll get into later).

First off, the cast for Ahsoka. I think it’s great! We’ve seen Rosario Dawson as Ahsoka (and obviously Hayden Christensen as Anakin/Vader) so I was really only wanting to see the animated Rebels characters (Ezra, Sabine, Zeb, Chopper, Hera). While Zeb wasn’t shown in the Ahsoka trailer shown, we did get about 30secs from Mando when he talks to Paul Sun-Hyung Lee’s character (I forget his name). I thought Zeb looked great and loved they got Steve Blum (the original VA) to play him. The other Rebels that have been shown are Hera, Chopper, Sabine, Thrawn and a hologram image of Ezra. Natasha Liu Bordizzo as Sabine looks amazing and Mary Elizabeth Winstead looks great as Hera. Chopper, being a droid, obviously looks great as well. Eman Esfandi as Ezra looks amazing as well. For a while, like lots of fans, I thought Mena Massoud would be Ezra (he was coming off his Aladdin success) but when Eman Esfandi got the role, I saw Massoud’s response and was put off from the guy. Massoud didn’t seem happy/polite, to me at least. Plus Esfandi looks more like Ezra than Massoud does (especially w/ the nose, eyebrows and chin). I also think Esfandi looks a lot like Ezra’s father Ephraim Bridger. Idk if Eman Esfandi’s been in anything else but I’m not put off by new actors. I think new actors can be amazing (the only disney example I can think of is Neel Sethi as Mowgli from the live action Junglebook remake from 2016).

Now for the main man, Thrawn. I know he’s a comic/Legends character but for the purpose of this post, he is animated first then shown in live action. Because he was shown in animation first, I’m always on the side of getting the VA to be their character in live action (James Sie is doing this in AtLA as the cabbage man). When I found out that Lars Mikkelsen is Thrawn I was over the fucking moon.

Controversial opinion?? Thrawn was done dirty in Rebels. I was 16 when I first watched Rebels and I definitely think he was overhyped. I know Rebels is more kid-oriented, but I’d say going into the 2nd half of S1 had a more CW-esque feel to it and definitely by the end of S2, I thought Rebels was gonna be CW 2.0. I learned that Thrawn is supposed to be cold, calculating and patient so I re-evaluated my feelings on S3 and realized that Thrawn was building up to the S3 finale. By S4 and with the introduction of the Loth Wolves, I definitely thought Thrawn should’ve made some waves at this point. I’d say that the only real damage he’s done was in the S4 finale, forcing Ezra to sacrifice himself.

I think Ahsoka is the perfect chance to show just how dangerous and lethal Thrawn can be. I HAVEN’T READ THE THRAWN TRILOGY BOOKS so everything I know about it is from wookieepedia and google. I’m wondering if they’ll bring in any Legends characters related to Thrawn (ELI VANTO!!! He’s right there c’mon).

Lastly I wanna talk about Huang, the lightsaber construction droid. We first see Huang in Clone Wars S5 with the Ahsoka/Younglings/Hondo arc. Huang definitely reminds me of the wand guy in Harry Potter, but sassier lol. I’d heard from leaks online that Huang was going to be in Ahsoka, but to actually see him was amazing. I immediately questioned if the other Younglings are still alive at this point (they’d probably be mid 30s?) We get confirmation that Gungi is alive in Bad Batch S2 E6 Tribe, so I wouldn’t say it’s impossible that the others are alive.

I know that bringing back familiar Jedi is controversial among lots of fans (feeling it takes away from O66). But I actually like it because it shows that even though O66 was planned from the beginning (w/ Sifo Dias/Dooku/Palpy), the plan wasn’t perfect (and then of course the retconning of brainwashing from prequel trilogy to inhibitor chips). I’m sure Palps never expected the inhibitor chips to degrade or that the clones would be independent thinkers. I actually like when they bring back familiar Jedi.

So, overall, I’m definitely stoked for Ahsoka. We haven’t gotten confirmation but I definitely wanna see Lothwolves, the World between Worlds, and Jacen Syndulla (Hera/Kanan’s son). I didn’t particularly like his design in Rebels (he should’ve had lekku w/ his green hair imo) so I wouldn’t be upset if he didn’t look exactly the same. I’d also like to see more clones. I’d like to see Ahsoka reunite with Wolffe, Cody, Rex and Gregor. I’d even be fine with unnamed clones.

I’m assuming Ahsoka takes place during Mando S2/3, maybe S1 was well but I’m focusing on the 2nd and 3rd season. That means the Empire has been gone for about ~7yrs (10 at most I think) and Vader is dead. I’d like to see Obiwan show up as a force ghost to Ahsoka as well. He was there for Luke after his death in ANH, but I’d argue that Obiwan loves Ahsoka just as much as Luke. I’d like to see Ahsoka using to Force to feel when Obiwan died in ANH like how she did in hyperspace, sensing Anakin’s fall in CW S7 finale. Make it painful, I wanna sob lol.

I also wouldn’t mind Ahsoka meeting Boba Fett again. They met once in S2 I believe when Boba tried to kill Mace w/ Aurra Sing and her crew. Plo Koon took Ahsoka with him to go face them and while Ahsoka and Boba argued pretty much the whole time, I think her words really got to him so I can see them starting out tense then as they get to know each other, Ahsoka would see similarities between Boba and the clones she served with and he’d be annoyed lol.

So yeah, I think those are my thoughts on Ahsoka and I don’t want this post to get super long (even though it kind of is).

The next show I wanna talk about is Skeleton Crew. I’m excited about this show but I’m more curious than excited. I love Jude Law and the idea that it takes place in some uncharted region in space is great (new planets/locations/people). I love the whole premise that Jude Law’s character protects a group of Younglings since it matches my own HC of Hondo protecting the Younglings he met. Idk who else is in this show, but I’m definitely looking forward to it. I can see them bringing in Cal Kestis in live action (with Cameron Monaghan obviously) for this show (then perhaps have him crossover with other shows like Mando/Ahsoka). I don’t know much about it so I don’t really have a lot to talk about with this show.

Now I’d like to talk about Acolyte. I saw the leaked teaser uploaded to Youtube (idk if it was taken down but I can’t find it—it was phone footage and had no commentary). I believe this show is supposed to be set during the High Republic era (350-50yrs before the Skywalker Saga). Love that timeline setting. We hardly have any canon info on that era so this is perfect. Also Acolyte is about the rise of the Sith (in a time that was considered prosperous for the Jedi) so I think that’s super interesting. I had heard that it could also have Palpatine’s origin story??? YES PLEASE!!! Given that the High Republic Era ended 50yrs before TPM, it’s possible Palps was alive at least during the end of the High Republic Era. I’d like to see his master Darth Plaguis as well and that whole story Palps tells Anakin in RotS during the bubble opera.

I saw that martial arts is going to be a major part of this show and I’m super excited. Jedi have been shown to fight hand-to-hand before but I hope martial arts connects somehow to the Force (like how AtLA uses different martial arts for the bending types). Speaking of AtLA, I’m wondering if SW is utilizing martial arts BECAUSE of AtLA’s success (the Netflix live action show, Avatar Studios). Dave Filoni (Felony) also worked on AtLA so I wouldn’t be surprised if that turned out to be true. But anyways, I’m also super excited for Acolyte as well.

Alright now for the animated shows.

Tales of the Jedi is confirmed for a 2nd season and reportedly there are more writers. I’m hoping that means we get either more episodes or longer episodes. I don’t believe anything else, story wise, is confirmed, but I’d love to see Jedi we didn’t quite see enough of. What I’d like to see:

—Quinlan Vos training Aayla Secura

—Mace Windu training Depa Bilaba

—Yoda/Yaddle relationship confirmation (I HC they are baby Yoda’s parents cuz obviously).

—Luminara/Barriss Offee bonding (I’ve seen so many people hate on Luminara for her treatment of Barriss and I definitely think they all miss the point but that’s a whole other post).

—Caleb/Kanan bonding w/ Younglings like Ahsoka did w/ Gungi and the others.

—Yoda making Shaak Ti in charge of the clones (and her being a mom to every single one of them). She would definitely be the one to bring Younglings/Padawans in to train with the cadets so they learn to work together.

—Plo Koon being a dad to Wolffe/Ahsoka/the 104th (I wouldn’t mind seeing Plo’s backstory either).

—Kit Fisto’s story (being discovered, training, meeting Monnk, meeting Nadar).

—Anything about Saesee Tiin, Eeth Koth, Adi Gallia, Stass Ali or Ki Adi Mundi

—I could also see Cal Kestis making his animated debut (outside of video games) in this show as well.

—Ahsoka getting her 2nd lime green saber/Ahsoka getting her white sabers/purifying kyber crystals.

If the show did stories about other characters besides Jedi:

—Tales of the Clones (obviously unwhitewashed—I can dream can’t I?)

—Grievous’s backstory. Seriously this would be amazing.

—Huang’s backstory. When was he created? Was he a droid belonging to a Jedi (like R2/3PO and Anakin) or was he made specifically by the Jedi to be the lightsaber constructor. Maybe have a scene w/ a Youngling/Padawan Yoda??

—Shmi Skywalker being happily married to Lars. Bonus points for being a mother figure to Owen and her feeling like she failed Anakin (Obiwan parallel). Idk just more Shmi Skywalker. TPM didn’t have enough Shmi content.

All of these ideas could potentially tie in Jedis so it could still fit ‘Tales of the Jedi’.

As for Visions Season 2, I have absolutely no idea what to expect (just like S1) but all the animation shown looked 🔥 so I’m definitely excited for this. I believe in S1 we saw Boba Fett make a cameo in one episode. I didn’t recognize any cameo appearances from what was shown but please let me know if I missed anything (I’m not good with Legends/Extended Universe characters). Again, like Skeleton Crew, I can’t talk much about Visions simply because I don’t know enough/not enough has been shown. But definitely excited for this.

Now for Bad Batch Season 3.

Those that follow/have seen my posts regarding Bad Batch know that I don’t particularly like the show. I never have. In short, THE WHITEWASHING, the writing, the animation (regarding Omega’s emotional intensity), and Cid are all subpar. You can definitely tell this is a Disney Star Wars show (like the 1st half of S1 of Rebels—Rebels was the first disney animated SW show).

I will say that there are particular ideas that I liked but I just don’t think they were executed well. Dooku’s warchest/Serrano, Cody, Gungi, Echo leaving, the Zillobeast, Mayday/Crosshair duo, family vs soldiers trope, and even one of CF99 making a sacrifice are all great ideas I just don’t think it was done justice.

Season 3 is the final season and I can’t express how happy I am. I know that we are just going to get more of the same. The clone model/Omega’s design will not change (fuck Jennifer Corbett, Brad Rau and Dave Felony honestly), Cid is technically still in the picture, and the story has changed from saving Crosshair to saving Omega. I think it’s important to note that Hunter has no reason to believe Omega and Crosshair are together. Omega isn’t like the group. That’s the whole point of S1 w/ the bounty hunters. So having Tech sacrifice himself FOR CROSSHAIR, then having Hunter at the end say they are going to rescue Omega instead just undermines Tech’s sacrifice. Also the way Cid looked somewhat remorseful when accepting payment from Hemlock in the finale got me nervous. PLEASE NO REDEMPTION ARC FOR CID!!! GET RID OF HER!

I think the only thing I’m looking forward to for S3 is the music and the scenery animation. I don’t think I’ll watch Wednesdays. I was in no hurry for S2 and the disappointment I have for both S1 and S2 has made me not want a S3 but at least it’s almost over and they can do a new show. I love the CW-style animation, just make POC look like POC!!! It isn’t hard. I’m still hoping for a more adult/Andor-style CW-animated show completely disconnected from the Skywalker Saga (IN THE KOTOR ERA PREFERABLY!!) That’s my dream.

So yeah, I guess that’s all my thoughts on Bad Batch S3.

Lastly I wanna talk about that new animated Young Jedi Adventures. It’s set in the High Republic Era and features new characters (along w/ Yoda) but it’s aimed for preschoolers. Honestly I’m actually kind of excited for this show. I’m wondering if we’ll see any familiar faces or not (and if we do, will they be changed from Legends?). I don’t know anything else except the names of the characters have been released. I’m assuming it’ll be a kind of basic toddler show about learning the basics like what to do when you feel sad, how to share, bullying maybe, idk basic little kid lessons you know? I’m assuming these lessons are the ‘core’ foundation of who a Jedi is supposed to be—selfless people who do good and builds the Younglings up and maybe will end with the main group becoming Padawans/getting assigned a Jedi Master. Idk that’s just my guess, I could be totally wrong.

So out of the whole Star Wars Celebration, I’m mostly excited for the live action stuff (I didn’t talk about it, but that mando movie sounds pretty cool), but I am looking forward to Tales of the Jedi S2 and SW Visions S2. I didn’t talk about this either, but I’m a bit on the fence about the new Rey Skywalker/sequel movie. Apparently it’s 15yrs from Episode 9 Rise of Skywalker and Rey is a Jedi Master building the New Jedi Order or something like that. I LIKE Daisy Ridley. I DO NOT like Rey Skywalker (like many fans). I agree with pretty much all of Rey criticisms (being instantly good at Jedi stuff, overpowered, Kylo Ren x Rey pairing, etc).

Thanks for reading and I hope you also enjoyed the Star Wars Celebration💕

—Maisy

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