Since SW is basically the same as those old "go kill the demon king, hero!" excuse-plot jrpgs, this entire thing... it reminds me of that Hero Union BBS chapter where the guy and his team fight the demon lord, he unleashes his "true form", and with his dying breath taunts them that they need to go into the dark world in order to defeat the "true demon king". So they go and off that guy too, and with his dying breath he tells them they're still in peril due to the "true
ultimate demon king". This continues many dozens of times - always supposedly escalating, but never reaching a conclusion. The hero's allies get sick of this nonsense, and eventually go back home to be responsible adults before they die of old age. Due to the sunk cost fallacy, the hero stubbornly carries on to the point of slaying a supposed demon "god" before finally giving up.
(Another parallel to Star Wars is in this story, I think the hero is eventually given immortality by a jerkass god curious to see how long he'll keep going? For his own amusement? This is similar to how the original cast isn't allowed to die and forced to live on in CGI!
FOREVER.)
To this day still wondering why Darth Plagueis, or something like him wasn't in the prequels. Would make too much sense I guess.
neorichieb1971 wrote:I didn't like that Finn was a defector, I always wanted to believe that something evil was under those helmets. Not shaggy from Scooby doo.
SW has always amused me that way. Sometimes a reason for having aliens in fantasy is to dehumanize them and make them acceptable targets for violence (whether it's those damn xenos or knife-ears), but in SW, the opposite is true. The aliens have more personality and character than any of the humans.
It's why I think Lucas is a secret furry.
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Another somewhat related thing, almost all female characters in these old sci-fi children's power fantasies were basically porn stars. Flash Gordon, Star Crash, Leia in that painting they used for the laserdisc cover.... the Rose character is basically the complete antithesis of that aesthetic, and I always get a hearty guffaw thinking about it.
Either way, it's the writing that's the problem, not the change of director. Directors get way too much credit in these types if films, it's the script!
I'm a big base content guy myself, but often a director has the power to select, modify and reject scripts. That in itself effectively makes them god on a project.