star wars: identities

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reiversmusings  asked:

Is giving Dominaria a "cohesive identity" code for "turning it into a one trick pony" as you've been doing for every world you've invented in the post-8th edition era? Honestly, if that's the plan I'm fairly certain most of the people who've wanted you to go back would prefer you just not. Part of Dominaria's charm is being an actual developed world with different cultures.

All our worlds have depth. Each one has a cosmology with different creatures and cultures. A world guide about all the components is crafted for each world.

The people who love calling it a “World of Hats” are doing the same disservice as the people calling Jace a “Mary Sue”. It’s a snarky undermining of the incredible amount of hard work done by our creative team to make cool new worlds.

What our worlds are not are hodgepodge worlds with disparate parts that have no connection with one another.

“But that’s the way the real world is.” There’s a difference between what works in the real world and what works in stories. Real life is often unbelievable through the lens of story. I had umpteen writing classes drive this point home.

And even when our worlds have more distinction between the parts, Alara and Tarkir as examples, there’s a relationship between the parts.

There was no reason for Ice Age and Mirage to be on the same plane other than laziness on our part. Them co-existing on the same world did little to enhance one another.

When you have a Multiverse, it’s important that you craft your worlds so that the players can remember them, that they have some kind of identity. Star Wars and Star Trek treating their worlds like this was not a fluke but an important means to build a world where the pieces were memorable.

Here’s my counter argument to those who feel that worlds with lots of unconnected elements make for better worlds. Imagine we just clumped two consecutive worlds together. Amonkhet and a Kaladesh are one world and Innistrad and Zendikar are one world. And Tarkir and Theros.

Have we just made better worlds? Is part of the world optimistic steam punk with an Indian vibe and the other Bolas-crafted Egyptian inspired world, somehow make the world more sophisticated? Or is it just more cluttered and less distinct?

The reason it took us so long to return to Dominaria is we wanted to do it right. We wanted to be respectful of what the world was but bring to it a modern sensibility of being a world that had a cohesive identity rather than a hodgepodge of unrelated elements.

We did it though and in a way that is both respectful of what came before and productive in moving forward with a world that becomes part of our stable of worlds that doesn’t stick out like a sore thumb. Old fans, please have faith. We too love Dominaria.

There is a very, very long literary criticism post sitting on my dash right now about the failings? shortcomings? of The Force Awakens as a part of the Star Wars universe because it lacks the mythic quality of the originals. I realize this is an extremely superficial rendering of the post’s actual, lengthy analysis and argumentation, but that’s not what I’m here for.

What I am here for is to take up two bits from that very interesting post AS THEY RELATE TO ME, A FAN OF COLOR, PERSONALLY. 

The first is the assertion that:

“While The Force Awakens has its merits, they are few indeed, and the only one that deserves listing is the diverse casting.”

The second:  

Rogue One, on the other hand, does not fall victim to this. It does not claim to be a part of the Saga. It exists without intentionally altering facts crucial to the plot of the myth. It exists as a supportive side note only. The writers of R1 did not fall victim to the same hubris that haunts Abrams and Disney. R1 knows exactly what it is. It’s C-canon. Continuity to be utilized or ignored at whim, or as needed.”

To be perfectly honest, I spend a *lot* of time thinking about representation in the media; I don’t write about it very often because other people have done it already, and in far more eloquent ways than I can. But it’s an incredibly important part of how I think about my work as both a fan and a (temporary) academic. And it’s something that means a LOT more to me as a fan of color than just one line in a very, very, very long piece about why some people disliked TFA

Like the post’s original author, I too consumed a significant quantity of Star Wars material after watching the movies. From where I sit on my living room floor I can see my collection of EU novels–it’s not sizeable, but they are well-worn and loved. I played KOTOR and KOTOR II and cried over both. But unlike George Lucas, I never differentiated between the levels of canon; yes, I did take up particular aspects to be my own headcanons and resisted incorporating others, but for me, the most important thing about the EU novels and the games was being able to continue engaging with the Star Wars universe. 

Not the mythology that closed me out.

I love the originals. I have no idea how many times I’ve seen them, because aside from having them on VHS, I watched them every time they were on SPIKE TV in the early 2000s. I still plan to cosplay Cloud City Leia when I have time to make things again. They are a hugely important part of my identity (oh god why did I decide to go into an education phd when I should’ve done media studies, fml). 

But–

I have never cried harder at a movie than during either TFA or Rogue One. (It was worse during Rogue One.) 

So many better authors than I, again, have spoken/written about how amazing it was for them to see themselves onscreen in a Star Wars movie for the first time. For Rey to be the central heroine of the new saga. So much of the press around Rogue One in particular is about the diversity of the cast. The cast members themselves shared anecdotes about being a part of something that reflects how global the stories of Star Wars really are (Diego Luna’s accent, for the most prominent example). 

For me, the diversity of TFA’s cast (and, obviously, Rogue One) is not just one line of praise. It is not, as Riz says, “an added extra.” It is everything. It’s about saying THERE ARE PILOTS AND MECHANICS AND GUNNERS WHO LOOK LIKE ME. THERE ARE PEOPLE LIKE ME WHO MATTER IN THIS HUGE AMAZING STORY THAT LOTS AND LOTS OF PEOPLE LOVE. It is about opening up the whole GFFA in which the mythic Skywalker saga exists. The universe–the world-building, I’m not entirely sure what to call it here–is so much more to me than the central story of Luke, and Anakin. And that, too, is something the actors themselves have spoken about, that you really feel like you’re part of a lived-in world. 

(Shit, I’m getting off-track; there’s a whole other post about context that I dont’ have time to think about rn, I’m actually supposed to be getting ready for class. Suffice to say that the Saga doesn’t exist in a vacuum, nor do I think it should!)

Relegating Rogue One to “C-Canon,” to me, denies the significance of opening up the GFFA’s universe to be more inclusive. (Again, other authors have done quite a lot with the notion that the most diverse Star Wars film to date also…kills them all off, canonically supporting the white leads’ efforts.) It says that yes, you can come play in this universe so long as you don’t think you’re an important part of it. 

Rogue One made a billion dollars. I don’t think most people saw it–and its story of sacrifice and hope–as something to be ignored. 

So. TL;DR: I don’t take up Star Wars as just the central myth of Luke and Anakin, because it’s part of a much larger universe, a universe which is finally opening up to include more of the people who love it. The diversity and inclusion of the new movies is incredibly important to me, perhaps even moreso than the originals (which, again, I love). I mean–okay, sorry, this is getting into TL;DR territory in and of itself–I have loved Star Wars since I was twelve years old, I’ve always loved Luke in particular, and it’s only now, with these two new movies, that I’ve fallen this fucking hard headfirst into the fandom and show absolutely no signs of being able to climb out again. 

Look. I don’t mean this as a repudiation of the original post and its opinions; this is kind of the definition of YMMV, I think. But those two parts, and my own experiences with fandom and inclusion–this all kind of had to come rushing out. 

If I have to see one more post about how Rogue One is about an apathetic privileged white girl who comes to care about something other than herself I’m going to scream.  It’s absolutely true that Star Wars casts too many identical white girls, I have no argument against that, but a child soldier who was being worked to death in a labor camp is perhaps not the right character to pin the label of privileged and apathetic on.

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Nutritional info on Obi-Wan Kenobi says he provides 510% of your daily value of salt. (with special guest Siri “FITE ME” Tachi)

Identity - A Star Wars Story - Part One

Request : Hi! Your blog is awesomeness just like you. Could I request you doing a Luke/Leia/ reader fic were Anakin and Padmè had triplets instead of twins? Could you write that the reader somehow ended up in Jyn’s dads care? She’s force sensitive and helps Jyn and Cassian, but gets captured by Vader and Y/N Skywalker’s true identity is revealed. Thank you so much but if I you can’t then it’s totally fine.

I took a spin on this one. It will be a series of I don’t know how many parts yet. I basically follow the main story of Rogue One, but changed with different characters and slightly shortened. There’s a touch of Cassian X Reader cause he’s me space babe and I couldn’t help it.

Thank you kindly my friend who requested this! ;) !!

Part One

“Triplets?”

“Yes…three of them there are. Separate them we must, protect them from the Dark side.”

“Me and my wife have always wanted a little girl. I shall take her to Alderaan.”

“I will take the boy to Tatooine.”

“Return him to his family you will.”

“The Skywalker’s will be pleased.”

“What of the other child?”

“I know of a brave and smart man, Galen Erso, he has a family. The child will be safe with him.”

“This man, do you trust Senator Organa?”

“Yes, Master Yoda.”

“Very well. It’s settled.”

“May the Force be with us all.”

Present

What was so nice about living near an ocean was that the sunsets seemed to go on forever. The night skies that appeared after were vast and full of stars. You and your family would watch the sunset each evening. Your mother and father would sit in the sand watching you and your sister, Jyn, play in the sand. After a meal on the beach, your papa would tell you about every planet he had been to, listing off the name of each star. You would sit in awe of his knowledge while Jyn and mama would collect shells to make into toys. Those were the nights you looked forward to the most, those evening on the beach.

That was all now a distant memory. As you opened your eyes, the truck bounced with the unruly terrain. Your head shook in time with the wheel’s movements. The restraints binding your hands rubbed, making the skin irritated. It wasn’t just you in the truck either, as you turned your head to look Jyn. Her stare was cold as she observed the other passengers. When she saw that you were done daydreaming, she looked into your eyes with the gaze an older sister would have. You were about to speak, when the truck jolted. The stormtroopers grumbled, getting up to see caused the break in travel. Suddenly, the door to the cargo hold blew open and a flood of rebels entered. The stormtroopers were down before they could even fire a blast. You shrunk back into your seat, but Jyn looked out to the rebels. One of them came up, undoing your restraints, then Jyn’s. He mumbled something to Jyn, and then she pushed him back, fighting her way out of the truck. You quickly followed her, trying to avoid getting hit by the rebels that were running away from your sister. Jyn swiftly jumped out, but with a clunking sound, she fell to the ground. You peered out of the exit and saw a large imperial droid. He looked down at Jyn then to you and said,

“Congratulations! You’re being rescued!”

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anonymous asked:

With Anakin in the Library, I can't help but imagine him getting roped into storytime for the younglings that come and visit, and doing all sorts of silly voices for them. Half the Jedi are trying to use the library in *peace* and *quiet* and glare at them for disturbing the silence, and half the Jedi think it's the most adorable thing they've ever seen

What a fantastic image, anon.

Not only does he do the voices - sometimes he even does the languages. (Listen, Anakin Skywalker is a polyglot and no one can convince me otherwise.) Jocasta thinks it’s fantastic because it gets the ki- sorry, the younglings - interested in language and how it effects the stories and the characters in them. Sometimes they even get so excited they come back to do ~independent research~. That’s every Archivist’s dream.

Anakin does his translations in story very carefully, and he lives for those moments when the kids younglings notice, when one of them interrupts the story to say, “Wait, wait, Tilna said Martrok was Yinu’s family friend but Yinu said he was her father.” Then Anakin gets to explain about choice-parents in Twi’lek culture.

There are a couple of Twi’lek younglings in the group. They look very thoughtful all through the explanation, but they don’t say anything right then. Jedi don’t have families, of course. They have the Order. And that’s as it should be. The Temple is where they belong. Ryyla and Tam know that. So they’re very careful about finding Padawan Skywalker in secret later, and they don’t tell the masters about the questions they ask him.

(Several years later, there definitely is not a small network of padawans who all have familial nicknames for each other. And there’s certainly not anyone who calls Anakin “big brother” in any language. And there is most definitely not at all a single soul who calls Jocasta Nu “Grandmother.” That would be ridiculous.)

Identity - A Star Wars Story - Part 5

This is it my friends, the final part of Identity. I would like to thank my dear friend @miss-skymidala  for requesting this story in the first place! I hope I ended it well and if you want more Star Wars related writings send in some requests! Thanks for sticking with me on this wild ride. Now finally, I give you Identity - A Star Wars Story - Part 5…

Taggeed : @lust-for-pan @princeofsassgard (sorry if I forgot anyone)

“Have hope Y/N, always.” He retracted his hand, sad brown eyes watching you. And as the space closed you shouted, “Cassian I lov-” You were cut off by the clang of metal as the ramp shut completely. You pounded your fists against the metal, screaming for Cassian and Jyn.

Aben pulled you off the floor, but you were to overpowered by anger and pain. You threw yourself on the floor and you could hear the ship break through the atmosphere of Scarif.

“Y/N, if we’re going into the heart of Imperial command, we need to be ready to attack.” Aben’s voice barely broke through to you as you grasped the kyber necklace and closed your eyes. Aben walked away, prepping the weapon you did have. You just sat on the floor, quietly weeping, praying.

“Rogue One; May the Force be with you.”


“We’re approaching the Death Star,” Aben said, her voice cold, “grab your blaster.” You looked up at your friend from your spot on the ground. Her eyebrows were furrowed and her lips were set in a hard line. You didn’t need to use the Force to tell what she was planning. Darkness clouded around her like a swarm of flies. You remembered what Chirrut had said about Cassian on Eadu and felt sick to your stomach. You stood and turned to look out of a window back to Scarif. Hardly anything remained; pieces of the planet flying high above the site where the Death Star’s laser struck. You felt the pain, immense heart ache of a hurting planet, a dead planet. Tears stung at your eyes, but you pushed them down.

“What’s the point?” You murmured, but Aben heard you. Her head spun to face you, her eyes ablaze. She marched towards you, meeting your eyes. “The point!?” She asked, furious. “We take out as many of those monsters as we can and go down fighting. Like Chirrut, like Jyn and Cassian. Like Bodhi. We don’t give up, because they wouldn’t,” she paused, sadness becoming more apparent in her features, “they didn’t.” A loud thump and hissing sound interrupted the moment, causing both you and Aben to turn around.

“We docked.” She whispered, turning back to face you. You nodded at her and picked up your blaster. You and Aben quickly found defensive positions and readied your weapons. The ship door opened and a cold breeze blew into the star cruiser.  Before you or Aben could fire a single shot, both of your blasters flew to the ground. You gasped, but Aben remained composed as she pulled a grenade from her belt. Before she could pull the pin, she was lifted off her feet. She dropped the bomb to the floor and clawed at her neck with her hands. You leapt to her side, pulling her down with the Force. She let out a gasp for air and fell to the ground.

“You.” The voice was robotic, as if it came from a new branding of droid, but when you turned, it was not a droid you saw. A tall figure, dressed in all black, stood in the doorway of the ship. Behind it, the Death Star’s hallway was filled with a multitude of stormtroopers. The Empire knew of your arrival, and felt so compelled by it, they sent troops and a masked creature.

You felt as if you should cry and your head grew muddled with fear; but you felt the warmth of the kyber crystal against your chest and found a renewed strength. You glanced at Aben, who was still on the ground regaining her breath, and closed your eyes. Your hand shot out and with a pull, a cold piece of metal fell into your hand. As if it was an instinct, born into your blood from years ago, you pressed the activator switch. With a buzz, red light flooded your face and the dark creature shouted in anger. “Fire!”

The stormtroopers barged into the ship, unleashing a reign of heavy fire. Using the lightsaber, stolen from the cloaked being, you returned their fire with aimed ricochets. They fell in front of the figure, who remained silent as you sliced through the flood of white armor. What felt like minutes passed, when you had made your way to stand near the creature. With all of his guards slain, he stood quietly. He took a loud breath, “Next time, ask before you take things that do not belong to you.”

You almost laughed at the nerve of the man. You just stared at it’s masked face, and raised the red lightsaber above your head, ready to strike it down.

“Y/N! No!” You heard Aben shout, but it was too late. Before the blade could hit him, the creature raised a gloved hand and everything around you went dark.


“Y/N! Y/N please wake up,” you heard her panicked voice before you saw her face. Your eyelids fluttered open and you were met with a harsh light. You squinted, sitting up to study your surroundings. “Where are we?” Your voice came out more rough than you thought it would sound, but Aben only shook her head. “On the prison deck of the Death Star,” she murmured but she didn’t seem entirely sure, “but all I know for sure is that you went bantha shit on those troopers.”

You rocked off the ledge you were lying on to stand. “What was that thing with them,” you asked, rubbing your aching head. Aben turned to face you, her eyes wide in fear. “Death himself,” she whispered, the terror in her being more apparent than ever. You walked towards her, leading her to sit on the ledge, “Don’t worry Y/N, I’ll get us out of here.” As your friend slept on the ledge, you looked around your cell, seeing only grey walls and a single door. You knew the only chance of escape would come with enemies entering the cell or rebels freeing you. You felt your heart lurch at the thought of the rebels, hoping they got the plans to destroy the Death Star. Now, you and Aben just had to escape before the rebel fleet blew you up.

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skypalacearchitect  asked:

Sorry if this is a silly question but uh...what does Aloo think of Ilaré? I understand that she's probably used to the name Aloo, but on the other hand there is something heartwrenching about the Stolen Name (Nameless) factor... anyways I just wanted to Know because...well, Names, are Important

This is definitely not a silly question! In fact it’s going to be a pretty important and ongoing question in the story itself…

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Snoke’s Identity “Leaked” to Me (Spoilers) - Star Wars The Last Jedi Theory Explained

Credit to: 
Star Wars Theory 

Note: Snoke’s identity is simply as this:

(1) He is some sort of “Force Vampire” or let’s just say an ancient being (Sith or whomever) that sucks out the living force essence of various people.
(2) Snoke may have a tomb somewhere
(3) Snoke needs the life force of Kylo Ren to keep himself alive and regenerated. He probably needs Leia, Luke, and even Rey to make him whole again.

(4) In Legends, another person that does this “sucking the Force out of you” is Vitiate/Valkorian a.k.a. the guy who turned Revan to the dark side. Thus, began the story of the Knights of the Old Republic and the parallels between Revan and Kylo Ren and Bastila Shan and Rey.

This is Vitiate, Dark Ancient Sith Lord who has the ability to suck the living life force out of people. He’s the one that turned Revan to the dark side.




Overall: Is it likely that Snoke could be some link to the ancient past and would the revelation of Snoke’s identity be the catalyst to open the doors to know more about the “Old Republic Era”? Like the events of the Jedi-Mandalorian Wars, the Old Sith Empire and so on.

True Trans Force Rebel

It is true.  It has happened.  And here it is:

Laura Jane Grace, transgender rocker extraordinaire, was tweeting at the Official Star Wars twitter about getting one of the Star Wars voice changers.  And they replied with this.

Hashtag FOREVER: True Trans Force Rebel!

We here at Transition Transmission cannot tell you how happy this made us!  But I can assure you, we’ve never been happier to be Star Wars fans in all our lives!

May The Force Be With You!

anonymous asked:

Since Anakin is being misgendered 90% of the time is there any planet he visits for whatever reasons that doesn't because they think he's third gender and not male?

Does Padme call Anakin by his correct pronouns? Did it take him awhile to sum up the courage to tell her that although he doesn’t mind he/him could she use Zir/zim sometimes? Please?

I’m combining these two asks and tweaking a few things from the first one to get this piece. Basically, Anakin goes to a planet during the Clone Wars and is misgendered in the opposite way - they think they’re a girl and Anakin reacts accordingly. Then Padme comes for diplomatic reasons and they talk about it. I would also like to state that the way Anakin views their gender is very personal to who they are as a character and is not a blanket statement on “the right way” to do gender identity or anything like that. 

Also, the alien species in this piece are the same ones as the squid baby from MIB that Will Smith’s character delivers because I say so. (Also, that baby was cute a heck and I had to.)


“Don’t see why we have to go talk to them, can’t we just wait for Senator Amidala and her group to get here?” Ahsoka whined as Anakin concentrated on landing their ship. Rex and Jesse didn’t have anything to add, which in their case meant they were agreeing with Ahsoka.

“The planet’s leaders wanted to talk to us and so we’re going. Senators Amidala and Chila are coming to talk nitty-gritty details about hyperspace lanes and stuff, so no, we can’t just wait for them.” Anakin explained, for what felt like the fourth time, but he could see Snips’ point - it did seem rather pointless. The leadership was going to thank them, he was going to respond with platitudes, they were going to try to “repay” them, Anakin was going to have to refuse without offended anyone. They’ve done this at least a handful of times and he was getting rather tired of all the ways he could say “no, really, you don’t have to thank us, us defending you is part of the perks you get for being part of the Republic, doesn’t anyone read their ‘welcome to the Republic’ sheets??”

“There better at least be good food this time.” Ahsoka grumbled and Anakin snorted. Obi-Wan would have reprimanded Anakin for such a comment and then given a lecture on manners and the differences in food between species as if Anakin hadn’t grown up in a melting pot of different species all forced together through bondage. But, he wasn’t Obi-Wan and he understood that Snips was just tired, hungry, and probably restless from the battlefield they just came off of. She never did like it when she had to stay on the Resolute to help him coordinate a space battle.

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#2 - Characters

Though I do often identify with humans/cis characters in films/cartoons/tv shows, I usually find that I have a stronger connection to the characters who are not human and/or are genderless! (Especially BMO and BB-8, which is why they’re featured in this comic!)

clarias  asked:

Your costume post about Padmé and Leia was great but I especially loved your comment that Padmé's costume was your least favourite because it's mine too. I couldn't say why, I just know it offends my eyeballs but I wondered if you had a more insightful reason?

I’m not sure how insightful I can be, but I have a lot - a lot of issues with costume direction taken for Padme in Episode III and fundamentally think that it was the wrong direction, her costumes being completely out of character. The Mustafar costume is, for me, emblematic of these issues. This is whilst acknowledging the skill and craft that went into every costume (nearly every costume - there are a couple where I flat out do not know what they were thinking), and they are beautiful objects in and of themselves isolated from the character of Padme. The cut peacock gown is particularly stunning, but possibly the most baffling. 

Episode II Padme concept art.

In Episode I we see Padme at 14, swathed in ceremonial gowns, handmaiden disguise or ‘rustic’ peasant/spacer garb. These are all assumed roles, donned masks, but she is still identifiably a girl, particularly at the close of the film in her softened look. In Episode II we see Padme as Padme, a senator and an individual rather than a role (or variety of roles.) She is a young woman, she is bright and idealistic and in love. There is an emphasis on elegance, long lines, femininity. A lot of organic shapes and drapery. Volume and silhouettes that shift to suit her situation and practical needs - public vs. private, leisure vs. going to start a goddamn war to save her friend.. Jerseys and chiffons and crepes appear again and again. When she’s in the height of her romance, she wears yellow hues, at her most conflicted she wears dark colours - the blues and purples on Coruscant, the black gown at dinner on Naboo. Blue is her own colour, her most Padme, pale colours for when she is going against everything and taking things into her own hands (a call forward/back to Leia, echoes and future echoes and a noted piece of meta-costuming.)

There is very little cohesion to her wardrobe, which is a common factor for Padme throughout the trilogy as there are just so many influences in her looks. This is a result of the design coming in main from the removed team of concept artists and then being passed onto Biggar and her team for interpretation rather than coming direct from Biggar (and/or illustrators working directly with her, which is the current Star Wars costume department set-up.) This means that costumes get chosen based on aesthetic, and while of course things were not developed in isolation, conversations were had back and forth and concepts and costumes developed and revised. Often there is very little common visual language, the influences disparate and obvious with attempt to filter these influences, to soften and mingle them. It effectively amounts to visual white noise. In AotC, Padme wears a pseudo-Edwardian gown, and the very next scene is in a dress taken from a Russian ball gown. But there is story and narrative and a line can be found as she progresses, and always a root of Padme.

Explorative concepts of Padme in RotS, more delicate looks, more proactive looks, and the final look.

In RotS, however, this comes to a head, and what is left is a collection of beautiful but meaningless costumes. Beautiful white noise. There is some attempt at bringing narrative back into her costumes through the repeated use of blue - Padme herself has always been blue, water, the lakes of Naboo - as she is driven towards her end, but it is messy and inconsistently executed and honestly? The two blue nightgowns in RotS are not good. Otherwise, there is just fabric and heavy heavy drapery. Natalie Portman is very very petite, and they drowned her in fabric as it was apparently her character’s choice to hide her pregnancy in plain sight via mass. 

Now Padme is a senator, is pregnant, is consumed by a secret marriage and a crumbling Republic. She is fighting the losing fight. She is still a young woman, in her late-twenties at this point. She is still bright and fierce, if sad and tired. She is still Padme. She has used and manipulated her appearance like a tool, like a weapon, since she was a girl, there is no way that she would be so clumsy in disguising her pregnancy. I don’t think that she would hide her pregnancy - that feels false and out of character to me for a woman like Padme - but if she did feel the need, this would not be how it was done. There were so many concept explorations (like the ones above) that explored empire lines, panelling, drapery, those same elegant organic shapes of the younger Padme just raised and matured - covered shoulders, raised necklines/stand collars. All within the realm of young, feminine, pragmatic. Padme is nothing if not pragmatic (the woman happily donned a Naboo pilot disguise and flew a fighter escort from Naboo), and every sartorial decision has some sort of purpose (arguably the sudden Russian influence in AotC places her further from her usual Asian influenced wardrobe, all the better for being disguised as the galaxy’s best dressed refugees.)  But no, they went the other way. And knowing that these directions were explored and rejected (or simply handed off to distant background characters like Bail Organa’s aide in the most Padme maternity wear) makes it all the more painful that they went in the direction that they did. 

Padme’s costumes on display at Star Wars Identities at the London O2. There is an identifiable development in the first two costumes, a tony down of silhouettes and shift from ceremonial to practical adventuring, but they are still identifiably for a young vivacious woman. The  costume on the right is one of my few favourites from RotS, but there is a nearly total disconnect between this and the previous two. 

Throughout all of RotS there is this visual tug of war in Padme’s costumes as she is simultaneously infantalised and made matronly. Her necklines are painful awkward too often sitting somewhere in a crew neck. The colours are dour dour dour, there is suddenly a plethora of brocade and velvet. She can’t move, physically, and remember that this was moments after the end of the Clone Wars, in a time of political unrest. Sartorially, she was utterly vulnerable. Cosseted. Trapped in her gowns, in her apartments. Her beautiful hair is suddenly very flat. In a way, this works perfectly but the disservice that the narrative does to her as her political plotline was cut, but if she had been dressed as the senator we all know then some of that would have been softened as her appearance would have been visually communicating with the audience that Padme is being proactive even if we are not being shown this. The audience would have understood something was happening.

And then Mustafar. Finally! Ok, you may say that this is finally Padme getting back on track. She’s being active! As I discussed last week, she’s wearing a practical go-getting costume to go rescue her husband from the brink. Leggings, boots, tunic, is it so different from her Geonosis costume in AotC? Yes and no. Like the Geonosis costume, it is a direct link to her daughter - a piece of meta-costuming, past and future echoes. However, there is a level of pragmatism missing in the skirted tunic (and I believe that in the actual costume, the collar was attached using magnets!), and the costume seems to be made of a number of disparate elements that don’t tell a solid story. In AotC, Padme has already been seen in a practical action costume (the opening pilot costume.) There is a progression there. This costume comes out of nowhere. There is no arc in colour, no narrative in silhouette. It doesn’t tie in with any single thing that she has worn so far.  The short skirted tunic and the twee rounded collar serves to infantalise her, particularly with the belt detailing which one would expect to led her a militarised fierceness (which I touched on last week) but instead… it doesn’t. I have seen it described as having something of the girl scout about it, which I have to agree with. Particularly as once she is in the costume, has been the decision to do something, anything, make things right, she then has her agency immediately ripped from her (arguably never had any given Obi-Wan’s manipulations and his hiding on her ship to confront Anakin. The costume says little beyond about Padme herself.

There is a story there in this costume and all of the rest - if you look hard! There are always influences and character points to be found, stories told, but they are seriously underserved by the decisions made for Padme (and a few others) in Rots and buried deep. Of course, this is all personal opinion but when there are so many examples of what was explored and could have been, it’s hard to not be disappointed by what could have been, what was deserved by the story and character. What we end up getting in RotS with Padme is fragments and half-tales; nothing is communicated proper, and when costumes don’t communicate anything they ultimately fail.

Next Time: The explosive aesthetic of Sabine Wren

Last time: The path unfollowed

Genuinely, I like have to write a whole post on the concept of Mandalorian nationhood and how the No True Scotsman fallacy works and this massive us vs them mentality that holds their society together by literally creating enemies to unite against out of other subsets of their own people.