K (Hob den Schutz von „Jedipedia:Nachrichten“ auf: Vorerst entsperrt zum Aufräumen)
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07. April 2012
07. April 2012
Wie bereits berichtet wird Darth Mauls Rückkehr in der The Clone Wars-Sommerpause im Comicformat weitererzählt. TF.N berichtet nun über einen weiteren Maul-Comic:
Wie bereits vorher bekannt wurde, wird die Rückkehr Darth Mauls in der ''The Clone Wars''-Sommerpause in weiteren Maul-Comics weitererzählt. [[The]] schreibt dazu [–Death_Sentence_1_144702.asp hier]:
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|Death Sentence #1 is on sale July 25, 2012. Written by Tom Taylor (Invasion) and cover by Dave Dorman (Dark Empire, Crimson Empire)}}
|Death Sentence #1 is on sale July 25, 2012. Written by Tom Taylor (Invasion) and cover by Dave Dorman (Dark Empire, Crimson Empire)}}
Daneben berichtet Dark Horse über US-Comics im Juli und September:
Dark Horse berichtet außerdem über US-Comics, die im Juli und September erscheinen:
[[Datei:Kner sm.jpg|150px|left]]
[[Datei:Kner sm.jpg|150px|left]]
|Working with a team of Sith reconnaissance troops searching for a powerful relic, Jedi Knight Kerra Holt is getting a firsthand look at the battles between warring Sith lords. Witnessing all the destruction is making her have second thoughts about her mission, but painful memories push her forward, overriding her conscience. Kerra is falling deeper into the world of the Sith—will she be able to climb out?}}
|Working with a team of Sith reconnaissance troops searching for a powerful relic, Jedi Knight Kerra Holt is getting a firsthand look at the battles between warring Sith lords. Witnessing all the destruction is making her have second thoughts about her mission, but painful memories push her forward, overriding her conscience. Kerra is falling deeper into the world of the Sith—will she be able to climb out?}}
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|Star Wars: Knight Errant - Escape 2/5 von John Jackson Miller präsentiert Bilder von Marco Castiello, Vincenzo Acunzo und Michael Atiyeh. Das Titelbild schuf Benjamin Carré. Das Heft wird voraussichtlich am 11. Juli erscheinen.}}
|Star Wars: Knight Errant - Escape 2/5 von John Jackson Miller präsentiert Bilder von Marco Castiello, Vincenzo Acunzo und Michael Atiyeh. Das Titelbild schuf Benjamin Carré. Das Heft wird voraussichtlich am 11. Juli erscheinen.}}
[[Datei:Vaderprison sm.jpg|150px|right]]
[[Datei:Vaderprison sm.jpg|150px|right]]
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|Star Wars: Blood Ties - Boba Fett is Dead 4/4 von Tom Taylor präsentiert Zeichnungen und ein Titelbild von Chris Scalf. Das Heft wird voraussichtlich am 25. Juli erscheinen. }}
|Star Wars: Blood Ties - Boba Fett is Dead 4/4 von Tom Taylor präsentiert Zeichnungen und ein Titelbild von Chris Scalf. Das Heft wird voraussichtlich am 25. Juli erscheinen. }}
[[Datei:Crimson sm.jpg|150px|right]]
[[Datei:Crimson sm.jpg|150px|right]]
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Chewbacca rumbled a warning. “You all saw it,” Han called, though he doubted more than a few of them actually had. “He shot first.”
Chewbacca rumbled a warning. “You all saw it,” Han called, though he doubted more than a few of them actually had. “He shot first.”
Der Roman wird Ende Dezember erscheinen und kann erstaunlicherweise bereits bei vorbestellt werden.
Ende Dezember soll der Roman erscheinen, der bereits auf Amazon bestellt werden kann.
''Quelle: [[Del Rey]]''
''Quelle: [[Del Rey]]''
==Der Fünfte Miniauszug aus ''[[Scourge (Roman)|Scourge]]''==
==Der Fünfte Miniauszug aus ''[[Scourge (Roman)|Scourge]]''==
31. März 2012
31. März 2012
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''Quelle: [ Facebook-Post von Del Rey]''
''Quelle: [ Facebook-Post von Del Rey]''
==Darth Maul-Jugendbuch über Staffel 5==
==Darth Maul-Jugendbuch über Staffel 5==
29. März 2012
29. März 2012
[[Datei:Darth_Maul-_Shadow_Conspiracy.jpg|thumb|146px]]Es wurde angekündigt, dass ein Darth Maul-Jungenbuch im September erscheinen wird. Der Name wird höchstwahrscheinlich '''''Darth Maul: Shadow Conspriracy''''' heißen und wird über Versuche von Darth Maul, sich mit der Unterwelt zu verbünden, sein.
===1. Inhaltsangabe ===
Ein neues Darth-Maul-Jugendbuch wurde für September angekündigt und trägt den Namen: '''''Darth Maul: Shadow Conspriracy'''''. Es soll sich um die Versuche Darth Mauls, sich mit der Unterwelt zu verbünden, drehen.
===1. Inhaltsangabe ===
For the first time ever, Scholastic is publishing Star Wars Clone Wars... based off the hit Cartoon Network TV show, viewed by over 2.4 million every week!
For the first time ever, Scholastic is publishing Star Wars Clone Wars... based off the hit Cartoon Network TV show, viewed by over 2.4 million every week!
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*''Knights Archive''
*''Knights Archive''
==Neuigkeiten über das'' [[Erweiterte Universum]]''==
28. März 2012
Club Jade hat einen Blobbeitrag von Karen Miller aufgetan, in dem diese Andeutungen über eine Insider-Kurzgeschichte macht, für die sie Aaron Allstons neuen X-Wing-Roman Mercy Kill lesen durfte/musste, was nahelegt, dass die Geschichte sich entweder mit Jagdfliegern befasst oder in der Zeit nach Da Vermächtnis der Jedi-Ritter spielt.
Del Rey hat eine neue Facebook-Reihe gestartet, die Einblicke in den Alltag der Krieg der Sterne-Prosa-Verantwortlichen gibt. Aktuell auf dem Del-Rey-Plan: Die Besprechung eines "sehnsüchtig erwarteten neuen Zweiteilers", eine Insider-Geschichte mit einen "Liebespaar, das die Fans lieben", ein neuer Zeichner für den Essential Reader's Companion, ein ebenfalls neuer Zeichner für das Titelbild eines 2013 erscheinenden Romans, eine Debatte über die Figuren, die auf der Rückseite von Scoundrels zu sehen sein werden und ein neues EU-Projekt mit einem Autor, der bislang noch nie mit Krieg der Sterne gearbeitet hat. Jepp, spezifischer wurde es leider nicht, aber der Zweiteiler dürfte von Paul Kemp stammen.
EU-Cantina hat mit den Autor des Essential Guide to Warfare Jason Fry geplaudert. Hier einige kurze Auszüge:
'''EUCantina (EUC):''' The Essential Guide to Warfare was originally The Essential Guide to the Military written by Legacy of the Force author Karen Traviss. How did the project end up in your lap?
'''Jason Fry (JF)''': I’m not privy to what Del Rey or Lucasfilm were thinking in turning to me. But The Essential Atlas, which I co-wrote with Dan Wallace, had been fairly well-received by fans, and perhaps they liked the way its approach had tamed a pretty unruly subject: Here’s the history of the galaxy, as seen through the lens of geography. Given a few tweaks, I thought that was a good basic template for a military guide. Plus I’d shown my Star Wars knowledge was pretty deep, which was going to be essential for Warfare.
While I took the assignment with the gratitude shown by any freelancer writer who knows he’s now less likely to starve, I’ll confess that also came with a certain amount of trepidation. My knowledge of Star Wars geography was a lot deeper than my knowledge of military units, warships and the like, and I knew Karen had a huge fanbase that was really eager for her take on the galactic military. But the latter was out of my control and therefore not worth worrying about. As for the former, I addressed it in a couple of ways. I signed up Paul Urquhart as a helper — Paul’s a fleet junkie of the first order, with pretty amazing recall for all things Star Wars. I leaned on Lucasfilm for help more than I had with the Atlas. I did more crowd-sourcing, reaching out to fans who knew their stuff on TheForce.Net and elsewhere. And then I just plunged in.
'''EUC:''' What was behind the decision to change the title from The Essential Guide to the Military?
'''JF:''' One reason was that I wanted to break the link between what folks had been expecting from Karen’s project and whatever my project would turn into. I thought that would be more fair to Karen, to me, and most importantly to the book itself. Though to be clear, nothing prepared for the project was passed on to me in the transition except the title.
The far bigger reason was that I thought “Military” sounded like a book that would be really heavy on hardcore quantitative stuff — unit organizations, warships specifications, fleet data, and so forth. I have immense respect for that way of looking at the subject, but I wasn’t interested in writing that kind of book — and, frankly, I thought the audience for such a book would be relatively small.
I was interested in widening the focus beyond numbers and specifications — I wanted to look at history, and military philosophies, and personalities, and to keep shifting the narrative back and forth between historical overviews and in-universe documents and individual soldiers’ stories. Titlewise, “Warfare” felt like a much better fit for that approach.
'''EUC:''' The guide covers The Clone Wars in detail, including stories from the novels, comics, and now the television show. Was it hard to mix them together? Or was there a timeline made available that indicated when these events occurred?
'''JF:''' Ah yes, the Clone Wars Holy Grail. As far as I know such a timeline doesn’t exist, at least not yet. That’s an example of where widening the focus helped. I was able to skip around from clone troopers’ tales to warship profiles to discussions of cloning to first-person accounts without having to worry too much about how it all fit together chronologically.
With the Clone Wars, I was more worried about thematic differences than timeline problems. For instance, the idea that Mandalorian culture is a key part of clone culture was explored quite a lot in the EU, but hasn’t appeared in the show — yet the show has done a wonderful job showing us how the clones are individuals with their own hopes, fears and dreams. Things like that were tricky to think about how to balance.
'''EUC:''' In the Acknowledgments section of Fate of the Jedi: Apocalypse, Troy Denning thanks you for the email brainstorming regarding the “Celestial overlap,” and then writes that he wished the chapter had made it into The Essential Guide to Warfare. What did this chapter focus on, and why was it cut? What can you reveal to us about the Celestials that we might not already know?
'''JF: '''Oh, cool — I haven’t seen Apocalypse in final form, so I didn’t realize he’d done that. That’s awesome — Troy is both a great writer and a super-nice guy. Seriously, go find a copy of the old WEG adventure Scoundrel’s Luck — it is the great lost Han Solo novel disguised as a solitaire adventure.
Originally, Warfare began with Admiral Motti and a bunch of Imperials interrogating this scientist who explains to them how galactic civilization emerged from the remnants of the Rakata Empire, which had been powered by the Force, and how the Rakata had seized power from the Celestials. Motti, as you might imagine, regarded that testimony as equal parts fairy tales and treason.
I wrote it because I thought a historical overview from an omniscient narrator was a poor fit for exploring the earliest days of the galaxy, and because I liked opening with the spooky idea that the Imperial military, for all its might, couldn’t do things that these ancient empires had done routinely.
The main reason it got scrapped wasn’t really anything to do with continuity, though — it was that between the Celestials and a lot of stuff I’d written about Xim, it took a long time to get to familiar elements of the Star Wars universe and for the reader to read about people actually shooting at each other. My superstar editor Erich Schoeneweiss pointed that out, and he was absolutely right. So a lot of that early material came out, and I hit on the idea of a first-person account from Grand Admiral Teshik that would give us some immediate action and arresting visuals, while also having the historical sweep I wanted. It was a better start, and one that helped the book fall into place thematically and stylistically.
As for things I can reveal about that last chapter … well, I’m afraid there isn’t anything. The ideas about the Celestials were largely mine, they predated our encounter with the Ones in the TV show, and they never got submitted to Lucasfilm. So they were all essentially written in water continuity-wise. But it was a lot of fun to write, and I don’t think anything I came up with has been rendered impossible by the show, Apocalypse or anything else. So maybe someday….
Daneben wurde das Titelbild von Aaron Allstons neuem X-Wing-Roman abgeändert. Das Grundmotiv ist geblieben, wird nun allerdings silbern eingefasst:
Und schließlich gibt es seit gestern auch eine neue Taschenbuchausgabe: Anderthalb Jahre nach der gebundenen Version ist [[Im Vortex]] nun auch zum Sparpreis zu haben.
''Quellen: [[Club Jade]], [[Del Rey]] und [[EU-Cantina]]''
==''[[Episode VI – Die Rückkehr der Jedi-Ritter]]'' heute auf [[ProSieben]]==
23. März 2012
[[Datei:Originalplakat, Episode 6.jpg|150px|right]]
Heute kommt Episode VI der Star-Wars-Saga in [[Special Edition]] ins Fernsehen.
Nachdem Luke Skywalker und seine Freunde Han Solo aus der Gewalt von Jabba the Hutt befreit haben, geht es erneut in den Kampf gegen das Imperium. Es gilt, den im Bau befindlichen Todesstern zu zerstören, der die Energie für sein Schutzschild aus einer Generatorenstation bezieht. Unterstützung erhält die Rebellenflotte dabei von den Ewoks. Indes erfährt Luke, dass Leia seine Schwester ist und stellt sich dem Kampf mit dem Imperator Darth Vader ...
==Solo's Eleven wird Scoundrels heißen==
23. März 2012
Der angekündigte Roman Solo's Eleven wird Scoundrels heißen. Es wird vorraussichtlich 26. Dezember erscheinen. Inhaltsangabe:
The Death Star has been destroyed. The Rebellion has had its first big victory. And Han Solo, newly conscripted to the Rebel cause, is on the run from the Empire and the bounty hunters eager to turn him in for the huge reward being offered by Jabba the Hutt. Now a mysterious stranger offers Han the resources to execute a daring robbery from a major crime lord. The mission is impossible, but the prize will make Han a free man. With no choice but to accept, Han Solo and his Wookiee partner, Chewbacca, set out to assemble a cast of rogues, knaves, and cons with the right combination of wits, skills, and derring-do to pull off an operation of this complexity and scale — the best scoundrels the galaxy has to offer. And then the game is on: a rip-roaring, intergalactic, Ocean’s Eleven-style heist adventure starring Han Solo, Chewie, and Lando Calrissian, written by #1 New York Times bestselling Star Wars author Timothy Zahn!
==Noch ein Auszug aus ''[[Scourge (Roman)|Scourge]]'' veröffentlicht==
23. März 2012
“These Hutts have been very helpful. Even you must admit,” said Mander.{{Absatz}}
Eddey nodded. “But like Reen says, at their heart, they’re still Hutts. You know that saying Mika quoted, ‘Information is like fruit?’”{{Absatz}}
“It’s a Bothan saying,” Eddey said, “They stole it.”
''Quelle: [ Facebook-Post]''
==Interview mit Dave Filoni über ''[[The Clone Wars]]''==
22. März 2012
'''N: '''Looking back at the beginning of this season, you started with the Mon Calamari arc, and I feel like Riff Tamson was a sign of things to come as far as the increasingly edgy, dark material on the show - both with what Riff did to others and how Riff came to an end, with his head getting blown off.
'''Filoni:''' I think that there's been a kind of rising intensity on the show generally, and it goes for all manner of the villains. I think there's always this thing with animation where you're trying to get the broader audience in the United States, kind of just grab onto it and say, "It doesn't matter that it's animated. It's just storytelling." And that's a pretty big challenge, you know, that we're not just kids' fare. And I think some of that is a bit of a reaction to that. So you have a little more intensity that you might see on a normal TV show. Frankly, you wouldn't really think much of in a sci-fi, normal television. Because then the shark guy in CG or a costume seems a bit extreme and outlandish. So it's not, I think in some ways, as vivid and graphic. But in the animated world, it all kind of seems, "Wow, that's intense." It's like killing Roy Fokker in Robotech. It was like, "Oh my gosh! They killed someone. That's out of control!" So it's just a way to make you feel like there are real things at stake and that the war is reaching a point where it's not just this adventure anymore, that it's really battle lines that have been drawn and people are paying the price. At the beginning of Revenge of the Sith, there are heroes on both sides. It's often easy to see someone like Riff Tamson as simply the villain, but we don't know what situation he's fighting for for the Separatists. Why is he there? We don't get into that, but I think it's good to have that more challenging intensity at times.
'''IGN:''' In the first four episodes, there was a lot of Gungans…
'''Filoni: [Laughs] '''How about that, huh?
'''IGN: [Laughs]''' And there was lots of Jar Jar. Did you just think, "If we're going to do a big Gungans storyline, let's go all in and see what these guys are about"?
'''Filoni:''' There was some pretty big effort by us and George [Lucas] to say that, outside of Jar Jar, the Gungans themselves aren't a goofy group. They're not all tripping over their spears and awkwardly running around. Jar Jar's kind of the anomaly there. They're actually quite efficient warriors. You know, large, amphibious creatures would be pretty daunting to anyone. Though, I think that made them viable as a combatant, even though Jar Jar often times is at the front of the group.
'''IGN:''' In "Shadow Warrior," you had the unlikely but fascinating battle of the Gungans versus Grievous. It's in the rain, it's really intense… Was that a lot of fun to approach that and see how that would play out?
'''Filoni:''' Yeah, because that was a huge challenge. I think I've said before how I went back and forth on that one with George several times saying, "Wow, if we do this to Grievous, I think that's going to be a big, big loss for him. His credibility's going to go down." You know, we argued about it back and forth several times trying to figure out was that going to be the best move. George was always pretty resolute that it was going to be fine, and he talked with me through how we could achieve it. And I thought, "Well, if we're going to take him out, then we have to lose something pretty big on the good guys' side to make the sacrifice seem pretty meaningful." So we had to take out Tarpals, which is pretty sad actually. He's a likable Gungan for sure. But I think it also, in a way, lends to Jar Jar's character that he sees this all go down and that he witnesses it, that he kind of grows from the experience of watching this dramatic battle. Jar Jar's character, I think we've been able to do a lot with him on our show. I think that any fan would say that doing several episodes in a series with Jar Jar Binks wouldn't be their number one thing that they would think of doing. And it's more the challenge of having the character and saying, "How can we take him out of just being the fool and developing him in a way where he is a little bit more than that?" Maybe he's a little bit smarter, maybe he cares about things and maybe he's affected by the things in a way that makes you actually care about that character. Like anything, I think that Jar Jar, overtime, I think he grows on you. I think he's part of the Star Wars language -- oddly, in some ways.
'''IGN:''' Then you had the couple of episodes about the droids. I specifically want to ask you about "Nomad Droids," which I have described as perhaps the weirdest episode of The Clone Wars.
'''Filoni:''' Very bizarre.
'''IGN: '''I loved it, but it was very bizarre. I mean just some of the stuff: R2 accidentally smushing the king and having that smear across him the rest of the episode; the Wizard of Oz things; and there's suddenly robot pit fighting going on. What was the genesis of that episode and going so out there?
'''Filoni:''' Well, we know the people love the droids. Really, that is the whole genesis of it. George wanted to do this very fantastical tale where we were almost telling a whole story in one act. One act is Lilliput [from Gulliver's Travels], one act is Wizard of Oz. It was a big challenge that way, but kind of a fantastic event. I like the idea of having Commander Wolffe at either end of it, being kind of like, "Oh, I can't believe these guys are here." And I have to say, when they were written and when we were shooting them, I felt like they were the most extreme, blown-out episodes of the old Droids cartoons that have ever been done. They kind of capture that whimsical sense, and it's one of the ways that our show is very different. We're not afraid creatively, and George is obviously the one pushing for it, to kind of make these leaps stylistically and say, "Yeah, but these [episodes] are just going to be fun, and these are going to be weird -- and we know they're weird -- but they're not outside the realm of Star Wars." If we're to accept Luke flying down a trench and hearing a voice, and that's what guides him to reaching his goal and we're all okay with that… Little miniature people tying someone down in a Lilliputian way is too extreme? Probably not. So it was a look at that kind of a wider Star Wars universe; the kind of magic going on with the tree people under the ground on the planet Aleen and the other weird, bizarre problems that are out there besides just the Clone Wars going on. A big departure to be sure, but I think a fun one for the crew.
And it's Artoo and Threepio, and we really haven't had them together a lot on the show. There's not a lot of opportunity to have them together. So you get a kind of iconic look at them, and it just reminds you of when there were with the Jawas in A New Hope. If that's all you see of that movie, and you don't see anything about the Empire or Darth Vader or Stormtroopers, imagine what kind of movie you'd think you're watching? It's just Artoo and these Jawas. I mean, that's, like, far out! So I think there's that kind of innocence to Star Wars that, in a lot of ways, I almost think has gotten lost, or people just don't remember it because they're so focused on the type of intensity that we deliver in other ways. It's more like The Force Unleashed reality that fans have kind of made up in their imagination overtime that was never really a part of the original trilogy if you go back and look at it. We have to bridge all these different eras of Star Wars, and that's another big challenge the show's inherited.
'''IGN: '''It was on one hand obviously a nod to the opening of A New Hope, but there was a great sort of Rosencrantz and Guildenstern thing going with the whole storyline. Especially when they're walking by a huge lightsaber battle and we don't even really get the context of what's happening.
'''Filoni:''' Right. I call that my Star Tours moment actually. When I was talking to Steward Lee, the episodic director, I said, "I want this directed like Star Tours." Like, we're following the droids right behind them, and they're like, "No, we're not going that way!" Because Star Tours always had those awesome moments where you get a glimpse of something, and you go, "Wow! I wonder what that's -- Oh, we're not going there. The door just shut." So it's a fun thing. We've often discussed doing an episode where we're with the clones and we never really see the Jedi, but they just kind of leap over us -- lightsabers flashing and then run off ahead and we're like, "Wow, what was that all about?" It's a great perspective also. Because when I was a kid, the Jedi were a much bigger mystery than they are now. We never really saw one except Obi-Wan, and he was old. And then we got to meet Yoda, but he was old. And Luke, let's face it, he was never really the best. I have a notion that anyone on the Council could really kick his butt. He had a lot of heart though, right? He had a lot going for him. And almost it was what he didn't know that made him really dangerous to the Emperor, it's just love for his father -- but he wasn't going to take you out with his lightsaber skills, that was for sure. We've kind of lost that sensibility of, "Wow, the Jedi are really unique." But we've tried to show them unique in other ways, unique personalities and give them more depth on this show.
''Quelle: [ IGN]''
==Interview mit Troy Denning über'' [[Apocalypse]]''==
21. März 2012
'''The big shocker of this book is that Abeloth has a connection to Mortis and that Luke brings up his father’s experience on the planet (as seen in The Clone Wars Season 3). Can you talk about how you developed that connection and the process of collaborating with The Clone Wars crew?'''
Basically, we started the development of Abeloth with the idea that she was going to be attached to the Celestials somehow. We thought originally that she would probably be a servant to the Celestials, and that they were the ones who had inhabited the planet in the Maw. We never really thought that we would actually be showing the Celestials as characters. We came up with the idea that she would be a servant who had become corrupted. About the time we were writing Allies and Vortex, we were emailing back and forth and, of course, copying in the continuity people at Lucasfilm. At that point, one of the people –– I think it was Leland Chee –– said, “You know, they’re doing something in The Clone Wars that will deal with characters that are kind of Celestials, so we should probably check on this and coordinate. We really don’t want to have two different groups of characters of this nature running around the galaxy.” This made a lot of sense, because you don’t want more than one being that’s in charge of the balance of the force.
We were a little bit nervous about whether this would be something that caused us a problem or not. But of course we said, “Well yeah, we really don’t want to be doing anything that’s going to duplicate efforts in the EU.” So Leland approached Dave Filoni and explained what we were doing and said, “Can we work with them on this?” And Dave was really gracious and very accommodating and did everything he could to help us make this work. From that point on, we never really wanted to call the Ones in Mortis “Celestials,” but that was what we were thinking of them as. We didn’t want to pin them down, because you don’t want to pin down anything about Mortis, but that was our concept. The Ones became what we were going to do with the Celestials. They’re not really Celestials –– that’s why, if you look at the way the Killiks think of them, they are “what Celestials become.” The Killiks really don’t remember anything quite accurately. It’s all filtered through the minds of people who’ve become Joiners. That’s kind of a useful tool in this process, because I don’t really want to spell out exactly what the Celestials are. There are two reasons for that. One, they’re beyond our understanding, and I think the Killiks come back to that point. That’s probably the most accurate thing they say: you can’t understand what the Celestials are. Two, I don’t want to pin down in EU continuity that the Celestials are this and this and this. I just wanted to have them out there and say that Abeloth was someone who was involved with them.
'''Were you told by the higher-ups to keep the nature of Abeloth, the Ones, and the Celestials mysterious, or was that your choice because it made sense for the story?'''
We wanted to keep it mysterious up until Apocalypse because she just worked better as a mysterious, powerful being. She’s as much a symbol as an actual being. We wanted to keep that mystery, because she’s really beyond what a mortal being can truly understand. We wanted to explain what was explainable and understandable about her without making it seem like that was what defined her. She’s beyond anything we can understand; we can understand a few things about her, but not everything. I really presented more facts about her history than I did about her powers or what her true nature is.
'''Tell me about the challenges of writing a mysterious villain like Abeloth compared to writing more familiar ones like Jacen or Lumiya.'''
We started with a general idea of who she is –– she’s related to the Celestials, she’s a servant of them –– and we just kept painting her in with a little more detail as we got nearer to the end. Part of that was that we were developing more detail, and part of it was showing more of the detail that we already knew. It’s a little bit difficult going back and trying to remember what parts we developed at certain times as opposed to what parts we showed at certain times. We used very broad brushstrokes when we began, and we just kept defining her more narrowly at the end.
'''Did you always intend to leave the identity of the Sith Lord who meets Luke Beyond Shadows a mystery? I was thinking he might be White Eyes, the leader of the One Sith that we saw in Inferno and Fury.'''
I have a very definite idea of who he is, and he’s not White Eyes, I will say that much. But he’s definitely a character who appears in the future of the EU. If I define this too much, then people are going to be out there debating it and arguing about it. I would much prefer to let people come to their own conclusions. Even though I know what my conclusion is, it doesn’t necessarily mean that someone coming to a different conclusion is wrong. When you start getting into the mystic stuff and starting talking about symbols and the spiritual realm, there really never is one right answer. It’s always a matter of interpretation.
'''I was a big fan of Vestara in this series. To me, her perspective was one of the most interesting parts of the entire story. What do you think about her overall? She wasn’t your creation, but do you feel that her potential was realized in this series?'''
I think that Vestara turned out wonderfully. She was Christie’s idea, and I recall when she popped up in the meeting. Christie said, “I know what we should do. We should have Ben’s first girlfriend be a Sith.” Aaron and I got these big grins on our faces and everybody else just had big round eyes. They said, “You know, I don’t think we can do that.” We talked about it and the writers were pretty intent on wanting to do this. Everybody else was a bit worried about it, and finally we came to the conclusion that, as long as they don’t end up together, we could do that. I think that that was absolutely the right decision. I love her character development, where she ended up at the end, and I’m hoping –– I’m just a writer, so I don’t know what will happen in the future –– but I’m hoping that she will be a big continuing villain in the saga.
'''I was hoping for more of a battle between Vestara and Ben at the end of the series. Did you and the rest of the creative team always intend for her to escape in the finale? How much thought did you give to the possibility of Ben killing her?'''
I’m trying to remember if we ever thought we were killing her. There were a couple of scenes in Apocalypse that were decided within the first half-day of the meeting. Of course, the very end scene –– the wedding –– was one of the things that we came up with first. That was going to happen at the end of the series no matter what; we knew that almost as soon as we started the meeting. The other thing was Vestara’s fate, that she would leave and go off on her own. I can’t remember whether we debated killing her or not, but certainly within that first half-day of our meeting, we knew that she was going to escape and disappear into the galaxy to become a possible recurring villain.
'''That’s interesting, because one of the scenes in Ascension that I found most promising was when Ben and Vestara finally got together. Obviously, the end of Ascension left me feeling a little worried for their future, and I was hoping that Apocalypse would steer them in a different direction. What motivated the decision that they could never stay together?'''
We didn’t want to repeat Luke/Mara. It’s okay to echo something, but when you repeat it, fans justly have a little bit of a down reaction to that repetition. If you echo it and turn it in a different direction, it tends to have a little bit more resonance.
I really liked how it turned out; I didn’t think it was in Vestara’s nature to become the next Mara. I mean, she was a Sith, she was raised a Sith. I think she came to the conclusion in Ascension that she couldn’t be a Jedi, that that’s just not who she was. There was that scene when she kills for Ben and realizes that Ben can’t and won’t kill for her under the same conditions. She realizes, “I’m never going to be what Ben is.” By the time Apocalypse started, she had very much made that decision. What I was intending to show early on in Apocalypse was that she seemed hopeful that she could lure Ben into a life that they could enjoy together. She kind of has this fantasy that Ben could be something other than a Jedi, but realizes very quickly that he can’t be, that Ben is a Jedi in and out. She loves him for it, and loves who he is, but she can’t be with him. She can’t be the same thing.
'''So part of Vestara’s purpose in the series was to push Ben into the position of having to let go of someone who was fundamentally different from him? Was this part of his journey in reaching the point that his father reached?'''
Absolutely. A big theme in Star Wars is the redemption angle, and we were pretty consciously playing with that with Vestara the whole way through: “Is she going to be redeemed?” Redemption is only important if it doesn’t always work. Not everybody can be redeemed; not every character can survive. You lose the suspense in a story if you just know that anytime a character is placed in peril, they’re going to survive it. I think the same thing applies to the redemption theme in Star Wars on a slower, deeper level –– there have to be some characters who aren’t redeemed.
'''I’d like to hear how the final scene in the book (Jag and Jaina’s marriage) made it in there. Did the marriage finally happen because they’d been together long enough and fans were calling for some sort of payoff, or does it maybe advance some future plotline?'''
We had originally intended to do that wedding at the end of Invincible, but we weren’t too far into that series when I said, “You know what? Jaina kills her brother at the end of this series…and then she runs off and gets married?” That just seemed to be such a cheapening of her character that I didn’t think we should do it. I didn’t have to work too hard to convince everybody else. They saw that, while getting married is a positive thing and we were looking for positive ways to end Invincible, that one just felt like it would have been a cheapening of what Jaina had gone through in the book.
So when we began to plan Fate of the Jedi, one of the first things we said was that at the end of this series, Jag and Jaina have to be married. That was one of the first things we established. Now, some of the fans know that I was a Jaina/Zekk shipper early on, and everybody thinks that that was because I like Zekk better. It was really because I didn’t want to see Jaina go off to live in what early on would have been the Chiss Empire and then later would have been the Imperial Remnant. I didn’t want to lose Jaina for the main storylines. She’s an important Jedi, and we’ve known for a long time that she’s going to become more and more important to the core of the Jedi, so did we really want to have to go through plot hoops and come up with plot devices to bring her back into the main story every time we wanted to use her? Or did we want to risk losing her from the main story all the time? Once we came to terms with the need to use Jaina and decided to find a way to bring Jag back into the main story for a few years (so that Jaina could be in the main story too), that pretty much solved the problem.
'''Was that why Luke appointed Jag the Imperial Head of State?'''
At that point, I think we were trying to line up the Legacy comics and acknowledge that continuity. But we also needed to maintain what worked for the novels. We had a delicate balancing act as to how to achieve all of that. We basically had two conflicting goals there. It took a while to figure out how we could do that –– serve two masters at the same time –– with Jag.
'''Is there anything you can tell me about the vision that Ben has on the pinnace toward the end of the novel (Page 415)? It seems to connect pretty explicitly with the events of Dark Horse’s Legacy comics and the emergence of the One Sith.'''
Visions and symbols are always subject to interpretation and the future is always in motion. I look on a vision as one of many possible things that could happen. What I’m doing there is giving a nod to that continuity, but I’m just a writer, so I don’t know how or even if we’re going to get from where Apocalypse ends to where Legacy begins. That’s a big mystery to me, certainly. And I would be surprised if at this point even the editors and the folks at Lucasfilm had a clear picture of everything that’s going to happen in the next sixty years of EU time between Apocalypse and Legacy. That’s a long, long period of time, and to tell you the truth, I don’t think that anybody really has a firm grasp on how we’re going to get from where we are now to where Legacy begins.
And I don’t think they should –– I don’t think anybody should have that all pegged down right now. I think there’s too much fun to be had playing with that time period right now. That’s one of the things that comes up in Apocalypse –– has the future been changed? That’s a question that I don’t think I know the answer to right now, and I’m hoping the readers won’t know the answers to it. I suspect that probably the Lucasfilm people have an answer to that, but they haven’t shared it with me –– and I wouldn’t want them to. I hate spoilers, and that would be the biggest spoiler of all.
'''Were you given specific instructions to foreshadow those comics as the potential future for the galaxy?'''
They didn’t really give me an explicit instruction to do it, but one of the things I try to do as a writer –– and I think that most of us try to do this –– is to at least give nods to the continuity that other people in other eras have established. For example, in Dark Nest, I tied into the Prequel era with the information about Luke’s mother that R2-D2 had in his memory banks. I do that to make the EU seem like a more cohesive whole. Of course, the peril is that a lot of that stuff is not firmly tied down, and you don’t want to nail everything down tightly.
'''Allana does quite a bit of shooting in this book. Was that a controversial decision? Was there any hesitation in putting this eight-year-old girl into combat? The Solo kids famously grew up rather fast in their own youth.'''
We knew that she was going to have to be a character and we wanted her to be involved in the story. We didn’t want to keep shoving her off to the side like they did in the Bantam novels with the Solo kids when they were growing up. That left involving her as the only other choice. I tried to make her involvement realistic. It wasn’t like they were saying, “We need another soldier! Allana, get your gun, let’s go!” When she became involved in an adventure, it was because something else was dragging her into it. In Apocalypse, it was her vision that kept drawing her into the story. We didn’t have any overall editorial direction on, say, making sure that Allana was in one combat scene per book. We just tried to let it evolve organically as to how she would be involved in the story as Han and Leia’s charge.
'''It does seem like she is being groomed, in the same way that the Solo kids were, to take part in the next generation of Star Wars adventures.'''
There’s this whole theme about Allana’s destiny that goes all the way back to the Dark Nest trilogy. I tried to hammer that pretty heavily: she’s a special child in the Force, she’s the one that they keep seeing on the Throne of Balance, and she’s got a destiny. One of the things that the Solos have been trying to do is prepare her to meet that destiny. They’re not just being guardians and protectors; they’re trying to teach her how to live a perilous life. She understands the things that she’s going to face in her life and she’s doing her best to prepare herself. There’s a lot of stuff that’s going on off-stage to prepare her to be a character of destiny in the future.
'''It’s interesting that you mention the Solos’ role in Allana’s life, because some fans have been critical of Han and Leia for constantly bringing Allana with them into dangerous situations. To me, it seems like the Solos recognize her future importance and want to prepare her by involving her in their adventures.'''
Exactly. They don’t want to take risks with her, but because of who she is and what her destiny is, the risks come. I think Allana recognizes that long before they do.
'''I know that one of your favorite scenes to write was the death of journalist Madhi Vaandt, who was covering the slave uprisings and the subsequent involvement of the Mandalorians. Do you have any thoughts about that whole slavery subplot and how it ties into the overall themes of Fate of the Jedi?'''
We developed the slavery subplot after the first three books had been written. In addition to our initial story conference, we would have other conferences every time we got together at a convention. We used those story conferences to do course corrections and make sure we were all on the same page. At the second story conference –– I think it was at San Diego Comic-Con ––Christie brought up the idea of exploring the slavery angle that she had briefly introduced in Omen. She felt like the Jedi needed to have more of a moral center, and I think that she was really right about that. Up until that point, the Jedi had almost been just another political entity. They really weren’t acting as the moral center of the Galactic Alliance.
The slavery angle seemed like a really good way to bring that out and give the Jedi a moral struggle to pursue. I really enjoyed having that plot point to work with in Vortex. There’s that whole scene where Saba says, “We’ve got to follow the Force, we’ve got to follow what’s right, we’ve got to be Jedi first and political entities second.” That was the source of conflict between her and Kenth Hamner, who was loyal to the Galactic Alliance first. Again, you had the Jedi serving two different masters at that point. Until the slavery revolt came to a head with Madhi Vaandt’s death, the Jedi had been serving their political masters above their spiritual masters. In Vortex, I wanted to have them shift to serving their spiritual masters more.
'''So it was almost like a wakeup call for the Jedi.'''
Exactly. The whole slave revolt popping up really did serve to remind the Jedi of who they were, what they should be doing, and who they should be serving.
'''How did Freedom Front play into that? What was the impetus behind involving some of the Moffs in the slavery subplot?'''
One of the things that the Moffs do is have really intricate plots. Once again, we had that same problem: we wanted Jag involved in the story, but he was the Head of State, so we had to find a way to get him involved. We had to have an excuse for him to be on Coruscant, and that dragged the Moffs and their political intrigue into it. These are some of the things that you struggle with when you have characters who you really want to involve, but they’ve been placed off in a different part of the galaxy. You have to find a way to bring them back into the main story. Of course, Moffs being Moffs, they have to be plotting and doing stuff. I wasn’t the one who wrote the initial appearance of the Freedom Front, so I can’t really speak to what went into that process, but I liked the irony of it: first it was a manipulation to cause a problem for Daala, and then all of a sudden the Moffs have sparked a genuine movement.
'''Who was your favorite character to write in this book? Personally, I’ve always enjoyed the way you write Saba.'''
You know, I love all of my characters equally. Honestly, I would say that, of the movie characters, my favorites to write are Han and Leia, especially together. Of the characters that I’ve created, Saba is probably one of my favorites to write. She’s a lizard, so you can do some fun things with her –– you can get into her head and play with the irony of having her be the moral center. Even though she’s really a vicious hunter at heart, she’s one of the Jedi who sees things most clearly in black and white. Within her mind, within who she is, she is by far the most rigid Jedi in her views of what the Jedi should be doing. I enjoy playing with that kind of irony. There’s an internal conflict between Saba’s species identity –– a hunter who doesn’t hesitate to go out and hunt –– and her view of Jedi honor.
Every character brings such different things to the story. Vestara was just a blast to write, in terms of getting into her head and trying to figure out what she wanted. She was by far one of the most complicated characters in the series. What she wants for Ben and herself is what everybody wants: a life with someone she loves, family life, success, and all of that. But they’re just two really different people and she recognizes that. I think her recognition of that is something that really rang true for me.
'''One of the other great things about Saba is your ability to play with a more comedic side of her. So on the one hand, she’s all about the honor component, but then there’s also this other aspect of her personality that comes from her unfamiliarity with human culture.'''
I kind of modeled the Barabels on my own sense of humor. A lot of people don’t get my sense of humor. [laughs] I’ll say something that I take as a joke and people will take me absolutely seriously, and on the other hand everybody will be cracking up with laughter about something that goes right over my head. I think that aspect of Saba is probably where I let a little bit of myself show through.
'''Your only standalone novel is Tatooine Ghost, although you did write the Dark Nest trilogy alone. Do you prefer writing installments in long, nine-book series to writing standalone novels?'''
It’s two different pleasures. With standalones, it’s fun because you’re in control of everything. You have a vision that is more cohesive and united, because it’s this single vision that’s in your own head. You’re never guessing about what somebody else is thinking. It’s easier to write because of that. We do try to plot things very carefully when we’re working in groups. But you’ll agree on a certain set of plot and character guidelines, and then somebody will write a character in a book preceding yours and hit all of the guidelines exactly as you agreed, but it’ll be five, ten, fifteen degrees off of what you were thinking. You’ll just see that those plot points meant a slightly different thing to them than they do to you.
For instance, when I was writing Star by Star, I got the manuscript for Balance Point and saw that Kathy Tyers had followed the outline exactly. She did exactly what the outline had called for, but it was all about fifteen percent off of what I thought she meant. I was 400 pages into Star by Star and I thought, “Oh my gosh, I have slightly different interpretations of these characters than Kathy does!” So I had to go back and rewrite the first 400 pages before I could go on.
That kind of thing happens all the time when you’re doing these author switch-offs, and not just with the authors. There’s more coordination and continuity checking for everybody involved. That doesn’t mean that it’s not worth doing –– it is. It’s a lot of fun, and that’s why I’ve enjoyed doing them. The brainstorming sessions, working with other people…as a writer, you don’t get to do that very often. When you have a chance to sit down and brainstorm a story through with five or six people who are a lot of fun, I can’t tell you just what a pleasure those things are and how much energy develops in those brainstorming sessions. But with the energy comes that extra hard work and coordination, because no matter how carefully you plot and how hard you try to all be on the same page, everybody’s mind works just a little bit differently and we have to make adjustments all along the way to account for that.
'''How do you think Fate of the Jedi compares to Legacy of the Force?'''
I think that the fairest thing to say is that we learned a lot. Each time you do one of these series, you learn a lot from the previous series. Comparing Legacy of the Force with The New Jedi Order, you’ll see that the editors decided they didn’t want to have a whole bunch of authors involved. That simplified things a great deal, because then you’re only dealing with three different interpretations and three different personalities versus fifteen or something in The New Jedi Order.
From Legacy of the Force, we learned a lot of things about handing off your story. One of the things we did with Fate of the Jedi was when an author finished their book, they would write a short summary of where their characters were and what they were thinking at that time. “So-and-so is on this planet with such-and-such, and he’s wounded and sad.” The continuity improved a great deal because of those hand-offs; they helped a lot. Christie is a great team player and she was really good about that.
'''What do you think this series will be remembered for? How has it left its mark on the Expanded Universe?'''
I view the collection of books starting with Dark Nest and going all the way through Fate of the Jedi as the Jacen Solo saga. He’s the main driver behind all of those series. It started with his losing his way in the Dark Nest series, where he returned from his five-year sojourn and took the weight of the galaxy on his shoulders. That hubris leads him to fall in Legacy of the Force, and then Fate of the Jedi deals with the consequences of his fall, which are much larger than anybody could have expected. We moved from what was basically a personal journey in the Dark Nest series into a social journey in Legacy of the Force (which was very much concerned with the Second Galactic Civil War). By the time we get to Fate of the Jedi, we’re talking about a spiritual journey, and Abeloth is very much a spiritual monster. She’s something that’s beyond our understanding. She’s in the realm of mythology. So there’s a progression through those three series. I would love to say we planned that from the beginning, but the truth is, it just developed that way.
'''Speaking of Abeloth, can you give me any hints about the italicized passage at the very end of the novel?'''
[laughs] It’s an interesting interpretation you have of that passage. I really don’t want to say too much about it, except that your reading isn’t the one that I expected people to have. It’s very vague whose mind you’re inside of. We wanted to wrap that up, to do a framing of the Fate of the Jedi story. I really like the way it worked. We were debating whether or not we should frame it that way. I think you can read those lines as being in several different characters’ minds, both at the beginning and at the end of the story. What you get out of those lines is going to depend on which character’s mind you think you’re in. They operate on more than one level.
'''You mentioned that there was a similar passage at the beginning of the story, and sure enough, the first Fate of the Jedi novel, Outcast, begins with an italicized passage as well. Can you tell me more about the decision to use that framing technique to encapsulate the events of the series?'''
When Aaron began Outcast with those lines, it was a little bit of a surprise to us. We didn’t really confirm that we were going to end Apocalypse with another set of lines until I was halfway through writing it. We started talking about whose perspective those initial lines were from, and it was interesting that all of us had different ideas of whose minds they were in! We were talking about, okay, do we need to explain that (whose mind they were in)? Do we need to pick one? I’m very much of the belief that when you start getting into the area of the symbolic, you really can’t explain things. You’re operating on a level that goes beyond conscious comprehension; you start to touch on the unconscious mind. I thought, “You know, it’s better to leave this working on a couple of different levels.” I will go ahead and say that I didn’t write those lines from Abeloth’s perspective. I was thinking of someone else when I wrote them.
'''Is there any chance we’ll find out in some later book who you had in mind?'''
I don’t think so. I think that that mystery will probably be left open to each reader’s interpretation. I would be hard-pressed to see that coming back out. I mean, never say never –– somebody may pick it up and run with it and surprise me, but I don’t have any intentions to develop that particular thing any further.
'''Many thanks to Troy Denning for taking so much time to discuss his Star Wars work with me. Apocalypse, his latest book and the last installment in the Fate of the Jedi series, is on sale now.'''
''Quelle: [[Random House]]''
==Verschiebung von Essential Reader's Compain==
20. März 2012
Es wurde bekannt gegeben, dass das Essential Reader's Compain statt 21. August erst 2. Oktober erscheint.
{{Zitat|Die Terminverschiebung erfolgte, um unserer außergewöhnlichen Zeichnerteam mehr Zeit zu geben, über 100 Szenenillustrationen und annähernd 50 Porträts wichtiger Figuren aus dem Erweiterten Universum fertigzustellen. Eine Vorschau auf diese Illustrationen folgt demnächst.|Random House}}
''Quelle: [[Random House]]''
==Miniauszug aus ''[[Scourge (Roman)|Scourge]]'' wurde veröffentlicht==
16. März 2012
Del Rey hat einen Miniauszug aus dem Hutt-Roman Scourge veröffentlicht:
“Did you Voice her?” asked Reen.{{Absatz}}
“’Voice’ her?” replied Mander, looking perplexed.{{Absatz}}
“You know. Voice her. Jedi Hoodoo. Mind tricks.” She made a theatrical wave of her hand. “Tell her ‘You want to let us land on the planet’ or something like that. And then she agrees and we go off.”{{Absatz}}
“It doesn’t work quite like that,” said Mander.
''Quelle: [ Facebook-Post von Del Rey]''
==Zwei Vorschauen von dem Staffelfinale von The Clone Wars==
15. März–16. März 2012
Lucasfilm hat zwei Vorschauen des Staffelfinales veröffentlicht.
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''Quelle: [[Lucas Arts]]''
==Neue Inhaltsangabe von'' [[X-Wing (Romanreihe)|X-Wing ]] – [[Mercy Kill]]''==
14. März 2012
Eine neue Inhaltsangabe von Mercy Kill ist veröffentlicht worden:
'''The intrepid spies, pilots, and sharpshooters of Wraith Squadron are back in an all-new Star Wars adventure, which transpires just after the events of the Fate of the Jedi series!'''
Three decades have passed since Wraith Squadron carried out its last mission. Taking on the most dangerous and daring operations, the rogues and misfits of the elite X-Wing unit became legends of the Rebellion and the Second Galactic Civil War, before breaking up and going their separate ways. Now their singular skills are back in vital demand—for a tailor-made Wraith Squadron mission. A powerful general in the Galactic Alliance Army, once renowned for his valor, is suspected of participating in the infamous Lecersen Conspiracy, which nearly toppled the Alliance back into the merciless hands of the Empire. With orders to expose and apprehend the traitor—and license to do so by any and all means—the Wraiths will become thieves, pirates, impostors, forgers . . . and targets, as they put their guts, their guns, and their riskiest game plan to the test against the most lethal of adversaries.
''Quelle: [ Kngihts Archive]''
==Deutschlandstart von Staffel 4 von The Clone Wars höchstwahrscheinlich im Juni ==
14. März 2012
[ Quotenmeter] berichtet, dass die Staffel 4 der The Clone Wars-Saga höchstwahrscheinlich im Juni erscheinen wird.
{{Vorlage:Zitat|Kabel eins wird aller Voraussicht nach ab Juni dieses Jahres die vierte Staffel von Star Wars: The Clone Wars zeigen.|Markus Ruoff}}
''Quelle: [ Quotenmeter]''
==Interview mit John Jackson Miller über ''[[Knight Errant (Comicreihe)|Knight Errant]] – [[Escape]]''==
14. März 2012
[[John Jackson Miller]] wurde von io9 interviewt:
'''Wo steht die Galaxis am Anfang des Knight Errant-Kapitels Escape?'''
Escape ist das dritte Kapitel von Knight Errant und bislang unser dunkelstes, das Auswirkungen auf die ganze Galaxis haben könnte. Als Kind ist Kerra Holt aus dem Sith-Gebiet geflohen, als Jedi ist sie zurückgekehrt, um die einfachen Menschen vor den kriegführenden Möchtegern-Sithlords zu schützen. In ihren bisherigen Abenteuern in den Comics und im Roman musste sie sich mit einem bizarren Sith-Lord nach dem nächsten herumschlagen, die alle ihre eigene Sicht auf die Sith-Lehren hatten. Keiner von ihnen ist allerdings gefährlicher oder verrückter als Lord Odion, der dunkle Lord, vor dessen Angriff Kerra vor Jahren geflohen ist.
Wir wissen bereits, dass Odion eine ernsthaft wahnsinnige Person ist. Die Existenz anderer Lebewesen fügt ihm in der Macht körperlichen Schmerz zu, und er will diesen Schmerz loswerden, indem er soviel Zerstörung verbreitet wie möglich. Er hat sich eine Todessekte aus Leuten geschaffen, die darauf brennen, in seinen Diensten zu sterben. Wie konnte es zu einer solchen Bewegung kommen? Genau das will Kerra Holt herausfinden, und zu diesem Zweck dringt sie ins Herz der Finsternis vor, um Odions Reich zu erkunden und ihn daran zu hindern, sein Endziel zu erreichen: Die Zerstörung allen Lebens.
Dieses Kapitel wird weitreichende Auswirkungen nicht nur für diesen Sektor des Alls haben, an dem die Sith-Lords Daiman und Malakite, die wir schon kennen, besonders interessiert sind, sondern für die ganze Galaxis. Und dieses Kapitel wird unseren Eindruck von Kerra Holt massiv verändern. Sie ist schon früher auf die Probe gestellt worden, aber diesmal werden wir erleben, was sie bereit ist aufs Spiel zu setzen, und wie weit sie zu gehen bereit ist.
'''Diese Todessekte klingt wirklich übel. Setzt Odion seine Machtkräfte ein, um seine Gegner einzuschüchtern und seine Anhänger unter Kontrolle zu halten?'''
Er kontrolliert sie nicht, im Gegenteil: Er treibt sie endgültig in den Wahnsinn. Schon früher haben wir gesehen, dass Odion eine ungewöhnliche Machtfähigkeit besitzt: Er kann andere zu Berserkern machen, die ihr Leben in der Schlacht mit Begeisterung opfern. Das motiviert nicht nur seine eigenen Leute, sondern hintertreibt auch die Strategie seiner Rivalen. Aus geordneten Angriffen werden wahnsinnige Selbstmordattacken. Im Knight Errant-Roman haben wir schon erlebt, welche Probleme Kerra selbst hatte, dieser Kraft zu widerstehen.
br Aber diesmal wird es viel schwieriger werden, weil Odion versucht, seine Macht zu vergrößern. Er sieht sich selbst als Zerstörer des Universum, während sein Bruder und Todfeind Daiman sich als Schöpfer des Universums betrachtet. Diese Familie hat ernste Probleme, und jetzt droht diese Familienfehde, Milliarden von Leben zu zerstören.
'''Was können Fans, die noch nichts von Knight Errant mitbekommen haben von Escape erwarten?'''
Es ist eine dunkle Reihe, die zeigt, welche Rolle die Jedi in einem der großen dunklen Zeitalter der Galaxis spielen, und schon häufig war Kerra der einzige Hoffnungsstrahl für ihre Mitmenschen. In Escape gibt es darüber hinaus einige der bislang besten Illustrationen zu sehen, und in meinen Augen hat unser Team Odions Reich wirklich sehr gut visuell wiedergegeben.
Für diejenigen Fans, die bereits die beiden ersten Kapitel kennen, ist das hier die Geschichte, auf die sie gewartet haben. Kerra hat es bislang vermieden, sich einen direkten Kampf mit den Haupt-Sith-Lords zu liefern, damit sie selbst überlebt und ihrer Sache weiter dienen kann. Sie befolgt in dieser Hinsicht den Rat ihres alten Meisters, dass sie niemandem helfen kann, wenn sie tot ist.
Andererseits hat Kerra erkannt, dass es Dinge gibt, für die es sich lohnt zu sterben, und wenn einem klar wird, was Odion genau mit der Galaxis vorhat, kann man sich gut und gern die Frage stellen, wie weit Kerra zu gehen bereit ist und was sie riskieren wird. Escape liefert einige erstaunliche Antworten auf diese Frage.
Ganz allgemein erhöhen wir mit Escape den Einsatz, denn diesmal wird sich nicht nur alles in den Sektoren verändern, die unter der Herrschaft der Sith stehen, sondern wir werden auch mehr über Kerras persönliche Geschichte erfahren. Wer glaubt, ihre Geschichte zu kennen, sollte sich nicht täuschen, denn im Sith-Gebiet ist nichts, wie es zunächst scheint.
''Quelle: []''
==Zwei Romane (fast) auf einmal erschienen==
12. März–13. März 2012
[[Datei:Revan_Roman.jpg|left|120px]][[Datei:Apocalypse.jpg|125px|right]]Am 12. März und am 13. März sind zwei Star-Wars Romane im Doppelpack erschienen: das dritte Band der ''[[The Old Republic (Romanreihe)|The Old Republic]]''-Reihe [[Revan (Roman)|Revan]] auf Deutsch und das letzte Band der ''[[Das Verhängnis der Jedi-Ritter]]''-Reihe [[Apocalypse]], was widerum auf Englisch erschienen ist.
Revan behandelt das Leben des[[ Jedi-Ritter]]s [[Revan]] nach ''[[Knights of the Old Republic]]'' und spielt somit noch etwa 300 Jahre vor den Ereignissen aus ''[[The Old Republic]].''
Apocalypse spielt nach den Ereignissen von Aufstieg, also nach der Flucht von Luke Skywalker, von seinem Sohn Ben Skywalker und von der ehemalige Sith-Scherge Vestare Khai. Anders als bei Revan ist bei Apocalypse ein Trailer erschienen:
''Quelle: [[Panini]] und [[Del Rey]]''

Version vom 14. April 2012, 10:53 Uhr


Nachrichten über US-Comics

07. April 2012

Wie bereits vorher bekannt wurde, wird die Rückkehr Darth Mauls in der The Clone Wars-Sommerpause in weiteren Maul-Comics weitererzählt. The schreibt dazu hier:


By now the galaxy has learned the terrible truth: Sith Lord Darth Maul still lives. Worse, he has joined forces with his brother Savage Opress!

The Jedi are searching for them and, after Maul and Opress cut a murderous swath through the Outer Rim, so is an army of mercenaries hired by a wealthy mine owner.

Darth Maul has a price on his head, and for him there is only one way to deal with such a problem: go directly to the source!

Death Sentence #1 is on sale July 25, 2012. Written by Tom Taylor (Invasion) and cover by Dave Dorman (Dark Empire, Crimson Empire)

Dark Horse berichtet außerdem über US-Comics, die im Juli und September erscheinen:

Kner sm

Working with a team of Sith reconnaissance troops searching for a powerful relic, Jedi Knight Kerra Holt is getting a firsthand look at the battles between warring Sith lords. Witnessing all the destruction is making her have second thoughts about her mission, but painful memories push her forward, overriding her conscience. Kerra is falling deeper into the world of the Sith—will she be able to climb out?

Star Wars: Knight Errant - Escape 2/5 von John Jackson Miller präsentiert Bilder von Marco Castiello, Vincenzo Acunzo und Michael Atiyeh. Das Titelbild schuf Benjamin Carré. Das Heft wird voraussichtlich am 11. Juli erscheinen.

Vaderprison sm

In Begleitung von Darth Vader, Mufti Trachta und dem verwundeten Imperator hat Kadett Tohm endlich das rätselhafte Geistergefängnis erreicht.

Vader battles the Jedi guard and Trachta wreaks vengeance on a particular prisoner. The Emperor’s condition is stabilized, but they must find a way to combat the uprising back on Coruscant. Vader plans to use the only army available to him—the inmates of the Ghost Prison. But the prisoners have begun to revolt...

Star Wars: Darth Vader and the Ghost Prison 3/5 von Haden Blackman enthält Illustrationen von Agustin Alessio, das Titelbild lieferte Dave Wilkins. Das Heft wird voraussichtlich am 18. Juli erscheinen.

Bobadead sm

The man behind the murder of Boba Fett has sent his army of mercenaries to kill Fett’s ex-wife and child, and Boba’s half-brother Connor Freeman.

But what if Boba Fett isn’t quite as dead as everyone thinks? Then there might be . . .

Star Wars: Blood Ties - Boba Fett is Dead 4/4 von Tom Taylor präsentiert Zeichnungen und ein Titelbild von Chris Scalf. Das Heft wird voraussichtlich am 25. Juli erscheinen.

Crimson sm

Kir Kanos is the last surviving member of the elite Imperial Guard. He's on the run -- and the Empire will stop at nothing to destroy him! It's the combined might of the Empire against a single man.

Star Wars: The Crimson Empire Saga von Mike Richardson und Randy Stradley enthält Zeichnungen von Paul Gulacy, P. Craig Russell, Randy Emberlin, Dave Stewart und Michael Bartolo. Das Titelbild schuf Dave Dorman. Der 504seitige Megasammelband wird voraussichtlich am 12. September erscheinen.

Quelle: Dark Horse Comics

Miniauszug aus Scoundrels veröffentlicht

06. April 2012

One shot was all Falsta got. An instant later his blaster was pointed harmlessly at the ceiling, frozen in place by Chewbacca’s iron grip around both the weapon and the hand holding it.

That should have been the end of it. Falsta should have conceded defeat, surrendered his blaster, and walked out of the cantina, a little humiliated but still alive.

But Falsta had never been the type to concede anything. Even as he blinked furiously at the ale still running down into his eyes, his left hand jabbed like a knife inside his jacket and emerged with a small hold-out blaster. He was in the process of lining up the weapon when Han shot him under the table. Falsta fell forward, his right arm still raised in Chewbacca’s grip, his hold-out blaster clattering across the tabletop before it came to a halt. Chewbacca held that pose another moment, then lowered Falsta’s arm to the table, deftly removing the blaster from the dead man’s hand as he did so.

For a half dozen seconds Han didn’t move, gripping his blaster under the table, his eyes darting around the cantina. The place had gone quiet, with practically every eye now focused on him. As far as he could tell no one had drawn a weapon, but most of the patrons at the nearest tables had their hands on or near their holsters.

Chewbacca rumbled a warning. “You all saw it,” Han called, though he doubted more than a few of them actually had. “He shot first.”

Ende Dezember soll der Roman erscheinen, der bereits auf Amazon bestellt werden kann.

Quelle: Del Rey

Der Fünfte Miniauszug aus Scourge

31. März 2012

Del Rey hat auf Facebook den fünften Miniauszug aus Scourge veröffentlicht:

“I am Mander Zuma,” Mander said in Huttese, “If you are Mika the Hutt, I should tell you that your father is concerned.”
“I am Mika Anjilliac,” said the young Hutt in educated, precise Basic. “My father has every right to have been concerned. Welcome to ground zero for the Endregaad plague.”

Quelle: Facebook-Post von Del Rey

Darth Maul-Jugendbuch über Staffel 5

29. März 2012

Datei:Darth Maul- Shadow Conspiracy.jpg

Ein neues Darth-Maul-Jugendbuch wurde für September angekündigt und trägt den Namen: Darth Maul: Shadow Conspriracy. Es soll sich um die Versuche Darth Mauls, sich mit der Unterwelt zu verbünden, drehen.

1. Inhaltsangabe

For the first time ever, Scholastic is publishing Star Wars Clone Wars... based off the hit Cartoon Network TV show, viewed by over 2.4 million every week!

Our story will follow the highly anticipated return of Darth Maul--the infamous villain of Episode I: The Phantom Menace--whose popularity rivals that of Boba Fett. When Darth Maul reunites with his brother, Savage Opress, can even Obi-Wan Kenobi stop him before he rallies the criminal underworld to his cause?

2. Inhaltsangabe

For the first time ever, Scholastic is publishing Star Wars Clone Wars... based off the hit Cartoon Network TV show, viewed by over 2.4 million every week!

Waiting on details from LucasFilms regarding Season 5, but the novel will feature the highly anticipated return of Darth Maul, the villain of Episode I's Phantom Menace, whose popularity rivals that of Boba Fett.


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