As a long-time Star Wars fan and someone who has seen more than their fair share of crime dramas, I must say that Star Wars Outlaws is a breath of fresh air. The show, Forma Fett, was like watching paint dry – it lacked the gritty, criminally enticing narrative that this universe so desperately needed.
Star Wars is often labeled as a children’s series, but critics argue that this label is used to brush off concerns about its questionable plot elements, crude humor, and simplistic moral messages. However, Star Wars takes place in a world with ominous undertones such as an imperial regime tolerating criminal activities like the slave trade of sentient beings and drug trafficking. While Star Wars has historically avoided portraying its criminal element in an unfiltered manner, Star Wars Outlaws might be the gritty, morally ambiguous game we’ve been anticipating.
Instead of blaming Disney for the discomfort in portraying criminals within Star Wars, it’s important to note that this unease can be traced back to the franchise’s creator, George Lucas. Interestingly, Han Solo, one of pop culture’s most iconic characters, was created by Lucas and is a prime example of a lovable rogue with a good heart, yet Lucas later seemed to struggle with the idea that such a character was initially presented as an unrepentant killer. In response to this internal conflict, changes were made to the “Special Edition” releases of Star Wars. Specifically, George Lucas altered Han’s encounter with Greedo. Originally, Han was shown making a humorous remark before casually killing the Rodian character, but in the revised version, Han is depicted as reacting nervously and only firing in self-defense.
The sequence of revisions has adjusted the timing slightly, and the most recent edit emphasizes that Greedo is more explicitly threatening Han Solo with death. Given the circumstances, it could be inferred that Han’s actions were always self-defense. After all, Greedo was a bounty hunter who openly declared his intention to deliver Han to Jabba the Hutt, a cruel crime lord known for keeping captives as trophies out of malice rather than necessity.
The “Han shot first” controversy rocked the early internet and Star Wars fandom, but at the core of the controversy was the sense that Han Solo was supposed to be a dirtbag. That was part of his character arc. He was a scoundrel and a loner who stumbled into a cause bigger than himself with friends he loved and that moved him to change. The Han Solo that we see gently smiling at the end of Return of the Jedi is not the same Han Solo who put a smoking hole in Greedo’s torso, and that’s the whole point. Those who favor the original cut, like myself, argue that it’s actually good writing to show that a character has grown and changed as a person and is learning from their adventures. That’s why we go to the movies.
Back in 1997, approximately two decades following the initial release, I found myself pleasantly surprised by a shift in Lucas’ vision for my beloved character, Han Solo. Instead of dwelling on his darker aspects, he was transformed into a more clearly heroic figure, shedding some of his old dirtbag image. Now, Han spends more time standing up for what’s right, rather than being the classic rogue I once knew.
The kid-friendly view of crime continued into the prequels, when Obi-Wan and Anakin visit a seedy Coruscant bar in Attack of the Clones while hot on the trail of a failed assassin. Our clearest signal that this is a sleazy place is when a random patron offers Obi-Wan some death sticks. That character’s name? Elan Sleazebaggano. Subtle!
During the Disney era, the trend persisted as Boba Fett made his return to the scene. This beloved character had previously existed in the expanded universe books for quite some time but hadn’t appeared in the primary, official cinematic universe since it was suggested he was killed, accidentally, by a sightless Han Solo in Return of the Jedi.
Fett showed back up in live action The Mandalorian, Disney’s biggest Star Wars hit on the small screen from a sheer merchandising perspective. Baby Yoda, aka Grogu, has certainly sold more lunchboxes than any other character in recent years. But Boba Fett’s appearance followed a story arc revolving around Cobb Vanth, a local Tatooine lawman played by Timothy Olyphant–essentially reprising his gunslinger roles from shows like Justified, except in a Star Wars context. Vanth had found Boba Fett’s old Mandalorian armor and was using it to clean up this-here town. But the title-character’s fanatical obsession with Beskar armor being the birthright of true Mandalorian heritage led circuitously to the reappearance of Fett to reclaim his armor.
Setting up The Book of Boba Fett spin-off, we find ourselves immersed in a miniseries centered entirely around the titular character. However, The Book of Boba Fett turned out to be an uneventful drag, even going so far as to dedicate an entire episode to its more beloved figure, Din Djarin.
At the core of the Book of Boba Fett’s rhythmic issues lies the straightforward truth: this narrative revolved around a fearless crime lord who was, in essence, afraid to embody his own role. Assuming Jabba the Hutt’s former criminal empire to rule as Daimyo of Mos Espa, Boba Fett portrayed a hybrid character – a criminal ruler with an air of elegance reminiscent of classic gangster films. He divided territories, delegated power to subordinates in charge of various aspects of his enterprise, and maintained order with bribes and political favors among government officials. This concept held significant potential for the Star Wars universe, rich enough to be devoured by its iconic rancor beasts.
The series avoided delving into specifics regarding the criminal activities or the operation of Fett’s enterprise. Although he displayed dominance over other crime bosses and emphasized his business was based on mutual respect, it seemed insincere as the show repeatedly conveyed that Fett was a crime boss who disliked engaging in criminal activities. Instead, Fett appeared more like a benevolent grandfather, occasionally defending himself against threats from other crime lords but generally minding his own affairs and leaving citizens undisturbed. The climax of the series featured another renowned bounty hunter challenging Fett, asserting that he couldn’t simply transform his ways so easily. This confrontation had the potential to be a gripping dramatic turning point, but due to the show’s lack of clarity in its narrative up until this point, viewers were left puzzled: Really? That was the whole point of the series?
Picture a tale turned upside down like The Sopranos or Better Call Saul flipped on its head: instead of a powerful figure descending into crime, we follow a morally dubious character transitioning into an upright, mundane, law-abiding individual. Somehow, we aim to create this story in an engaging manner, making the transformation’s sincerity captivating, but this particular attempt missed the mark.
At last, we have Star Wars Outlaws – a game that focuses on the shady criminal underbelly, devoid of Jedi or Mandalorians. This could potentially be the first Star Wars tale centering around criminals and their nefarious deeds, with unsavory characters getting their hands dirty. Ubisoft seems to be embracing this concept, hinting at diverse crime syndicates such as the Hutts and Pykes, and suggesting that the escalation of criminal activities is a result of a galaxy oppressed by the Empire.
In a galaxy torn apart by civil war, it’s no surprise that ruthless criminal organizations and syndicates begin to flourish. During this chaotic period, they seize opportunities and strengthen their power bases. It was during this window of instability that introducing characters like Kay and allowing players to explore the underworld felt like a compelling starting point for the narrative.
1. Kay isn’t exactly an upstanding citizen herself. The story unfolds as she meticulously plots a grand heist, navigating her path by forging alliances with various syndicates, each with their own factions. This narrative suggests that the choices aren’t necessarily good versus evil, but rather, different shades of wrongdoing.
It seems certain that the main character, Kay Vess, will eventually reveal herself as a criminal with a compassionate core, performing daring acts to safeguard those she values or thwart wicked forces unremorseful in their wrongdoings. This character archetype has its effectiveness rooted in the intriguing juxtaposition of her illicit actions and heroic deeds. For this dynamic to feel authentic, it’s essential that the story’s setting offers glimpses into a morally questionable world. I’m eagerly anticipating Outlaws because I hope it delves deeper into the shady underbelly of society we haven’t yet explored.
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2024-08-21 18:10