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Updated: Feb 6

((DISCLAIMER: This is a writing project based on an original work created by my sister, Cosmo Ringer. She has not yet shared her story publicly, so I can not link to it. But this world and all its mechanics belong to her.))


Chapter 1 - A Child & An Adult

The night was deep and a heavy fog lay over Suddlepuff, the capital city of Ost Tera. All windows were dark, even the windows of the castle in the center of the city. Every Suddlepuffian was sound asleep in their beds. There were few guards on duty and only two late-night watchers by the gate. Why should there be more? Suddlepuff was a peaceful city, ruled by the high king's nephew. They didn't fear much. It didn't make sense to fear. No one in the city had an abundance of wealth that could be stolen, and though lesser kings gave allegiance, tribute, and military support to the high king in exchange for recognition of their sovereignty, they were not altogether important enough to assassinate. So, with such little security, no one noticed the hooded figure that climbed quickly over the gate into the city and hurried off into the gloom.

----

 By the next morning, the fog had turned to rain and Suddlepuff was soaked, as was any person who ventured out into it. Most especially one specific individual who had been out in it for hours: His name? Well... What's in a name? An age-old question to which some would answer nothing. Others might argue names held identity, and if that were so, what would be the identity of a Klippin Vano Kolompár? It was an odd name, undoubtedly, perfect for the odd bloke to which it belonged. But Klippin didn't use his full name. He preferred to go simply by Vano-- Which isn't much better if you think about it, but it was shorter and therefore easier for the village children to both remember and pronounce.

 Vano, the beloved puppeteer in the town square, was also ironically the lesser king of Ost Tera! He wasn't very kingly. In fact, he was borderline foolish. The majority of his time was spent regaling the local children with stories, told through hand-puppets and songs.

 Vano didn't mind the weather. It would be what it would be, and something somewhere probably needed it that way. Unfortunately, he couldn't in good conscience ask the children to sit out in it. So today, he chose not to open his wagon theater. Instead, he busied himself ensuring everything was ready for a show tomorrow. As he worked, he swayed and hummed to himself like a drunk man, except that his voice was delightfully melodious and his swaying was the intentional motion of dance.


 Morning had lengthened into afternoon and the rain had steadily begun to increase when a voice was heard calling on the wind: "Lord Kolompar!" It was the voice of an elderly woman, heavily cloaked, with long silver hair draped over her shoulders. She hurried toward him from the direction of the castle, holding an umbrella over her head. "Lord Kolompar!"


 Vano didn't so much as glance at her, but continued his humming and working. "I don't go by that name out here, Dolly." He said in a sing-song voice when she finally drew up close to the wagon.


 "Vano then!" The old woman, Dolly, hissed. She opened her mouth to continue, but he was too quick. Spinning on his heels, he wrapped an arm around her waist and took her umbrella-holding fist in his hand, sweeping her into a spin with ease. After a quick twirl, he stopped and he smiled broadly in her face.


"Why, hello, Dolly! Fancy meeting you here, what can I do for you?" He asked.

 

"Stop being a fool for starters!" She snapped.


 Vano stepped back with a smug, self-satisfied smile and turned back to his work, allowing his nursemaid to continue lecturing him without interruption-- Yes, nursemaid. He didn't need one any more, being nearly 33 years old with a pointy goatee and receding hairline, but he loved the old woman so much that he had never dismissed her. Even before the death of his parents in his teenage years, he saw Dolly as more a mother than a nurse, and "you can't fire your mother" as he'd always say. Dolly loved him too. She had tended to the odd duck since he was an infant, but whereas most children grow up, Vano never had. Ofttimes she could enjoy his foolishness, but there were certain childish antics which were quite dangerous for older folks, and these were the ones she grew irritable trying to steer him away from.

 

"I'm not sure if you are trying to kill yourself or not, but I guarantee your puppet theater doesn't mind the cold and rain half as much as your immune system will. You've been out here since the crack of dawn without a cloak and skipped breakfast. Lunch is now on the table. Come inside where it's warm and stop fussing over this silly wagon." Dolly demanded.


 "Oh, alright." Vano sighed, closing the side of the wagon and giving it a loving pat before joining Dolly under her umbrella. As he was a good head taller than the hunched woman, he had to take the umbrella from her and hold it up over the both of them. Despite Dolly's news about lunch being ready and waiting, Vano could not be persuaded to hurry. He strolled along casually, enjoying the sights and sounds of his city. The people along the streets were doing what people did, trying to get somewhere despite the weather or sell something despite disinterest, though many merchants were closing their shops early due to the increasing intensity of the storm. A couple of them lifted a hand and shouted a greeting to Vano and Dolly as they passed, and more than once Vano was distracted by a conversation with one of them. Unfortunately, he was not allowed to converse for very long since Dolly insisted that lunch was getting cold-- Though in actuality, it had probably gone cold long ago.


 As the two neared the castle, Vano resumed humming to himself. "I miss the children." He sighed whimsically, "Say Dolly, what do you think of hosting a puppet show in the castle tonight? That way they can be safe and dry, and we’ll get to play today."


 "Aren't you forgetting something?" She asked doubtfully.


 "Forgetting?" Vano repeated, looking at the old woman with confusion.


 "Your uncle’s celebration.” Dolly explained, "You were told about it months ago, but you haven't made any preparations for the trip."

 

Vano laughed. "I don't want to make that long journey just to pop in for an hour, and to spend a whole month away from Suddlepuff just to celebrate is ridiculous! It shouldn't take that long to celebrate his accomplishments anyway. We could celebrate the worthy things he's done in 45 minutes."

 

"I realize you and your uncle have conflicting views, so why not go to visit Keidith?" Dolly insisted, "She'll be there, she won't have a choice and I'll bet she could use a friend at the party."

 

A sudden solemnity came to Vano’s face and eyes. "I’d love to see cousin Ki-Ki again, I really would, but I can’t risk seeing Haygen… Not after everything that's happened.” He began slowly, choosing his words carefully so as not to taint the universe with undue negativity. "It… It wouldn’t end well. For years I looked up to him, but he’s no fun anymore. And there’s the Oath of the Lesser Kings which I haven’t sworn yet.”

 

“Lesser kings have sworn that oath for generations, Vano.” Dolly said reprovingly.

 

“Not that oath. When Haygen changed 16 years ago, so did the meaning of the oath.” Vano explained, “The simple fact is I'm not going to stand in front of all those people and sacrifice my integrity merely to keep the peace with him. The very thought makes my stomach feel funny and my heart feel worse.”

 

“Well, how long do you intend to put it off for?” Dolly asked.

 

“Forever.” Vano replied simply.

 

Dolly frowned. She knew why Vano did not want to promise to obey the laws of his uncle, but as long as he delayed it, he could be accused of treason; and the punishment for that was unthinkable. “You’ll have to swear it eventually.” She said.

 

“Not if I can help it.” Vano said defiantly.

 

“Haygen has allowed your excuses all these years because he’s been preoccupied with the witch hunts and such, but he hasn’t forgotten. He will eventually demand it of you.” Dolly warned.

 

Just as suddenly as it had vanished, Vano's playfulness and smile returned. "Which is why I shouldn’t go. Besides, anyone else who notices my absence will be glad of it."

 

With this, the two came upon the door of the castle and Vano reached out to turn the knob. No sooner had his fingers lightly touched the brass when the pair suddenly heard a shriek from within. Dolly and Vano exchanged a brief look of alarm and confusion, then both hurried inside. They found the dinner table had been overturned, food sprawled across the floor and a back window shattered, but more shocking were the large patches of ice which freckled the room alongside a pink rubbery substance and a black ash wafting through the air as though something had been burned! The cook, Alfonso, was on his back by the table; staring upward with unseeing eyes, and with a breakfast platter still clutched in his hands. For all intents and purposes, he seemed to have been frozen as well, there was even frost in his beard.

 

"What's going on? What happened here?" Vano asked, moving swiftly to the cook's side and stooping to check for a pulse. To his relief, the man was still alive, but what had happened to him?


 A few feet away a maid struggled to free herself from the pink rubber around her ankles. "A magician, sire! She was trying to steal the French toast and attacked Alfonso when he caught her. She fled upstairs!"


 "A what?!" Dolly cried, shock and horror in her voice.


Without warning, Vano shot across the room and up the stairs like an arrow loosed from a bow string. On the second floor, he found two castle guards jumping around and scratching their arms and backs, as if they'd fallen into a nest of biting ants. In the corner across from them stood a young girl with pointy ears, yellow swirls on her face, and short, curly red hair-- Well, red for the most part. A patch near her forehead was snow white, as was the brow and lashes of the eye below it.

 

"Look out, sire!" One guard shouted upon seeing Vano. The girl made a motion to flee, but Vano jumped in her way. She withdrew back to the corner, her hand diving quickly into the pack at her side. She drew out what looked to be a pink marble and held it up with intent to throw it at him. "Watch out! She's got all kinds of spells in there!" The other guard cried.

 

Vano threw up both his hands. "Wait! Please! I won't hurt you." He said urgently. The girl grunted doubtfully and kept the pink marble held high. "I won't, I promise!" Vano continued.



 Everyone was quiet for a moment as the girl stared long and hard at the man in front of her. She thought him tall, skinny, and altogether quite weird looking. There was a thin streak of purple and gold in his hair, and a golden hoop earring in his left ear, which conveyed to her that he was a whimsical being. Such a being could probably move fast, but wasn't likely to be violent, and there were other things she noticed: His eyes. They were heterochrome, just like hers, but there was no lie or guile within them. They shone with genuine honesty; he would not hurt her. Slowly, she lowered her hand which held the marble.


 Encouraged by this, but still wary, Vano chanced a friendly smile. "Now, if you could, would you be so kind as to undo whatever you have done to my friends? Esmé, Alfonso, Reno, and Jardani are good people. I'm sure they didn't mean to scare you."

 

"They attacked me!" The girl growled.

 

"An overreaction. They won't do it again, I promise." Vano said.

 

Once again there was silence as the girl stared into his eyes. She could tell he was being genuine once more, but she was not foolish enough to believe he could promise anything on behalf of another. After a moment, she placed the marble back in her pack and drew out a grey one instead. This she gingerly tossed at the two guards; Reno and Jardani. The moment it touched the ground at their feet, the two were briefly encompassed about by smoke. When it cleared, their itchy ailment had vanished. All three men heaved a sigh of relief, then Reno made as if to charge at the magician: "Get her!" He called to his companion.

 

"No, no. There's no need of that." Vano said, turning quickly to face him.

 

"But sire, a magician--" He began.

 

"Are you sure she’s a magician? Magicians typically come in far more exciting colors—I think I can see face markings there, but a little face paint and glue to the ears would yield the same appearance of any play-acting child in Suddlepuff." Vano said with a casual wave of his hand.


 "But the spells--" Reno argued.


 "Those 'spells' are alchemical concoctions, not magic. Very convincing but hardly authentic." Vano said.


 "Are... Are you certain?" Reno asked, casting a suspicious glance at the child in the corner behind his lord.


 "Of course, I am. I know a thing or two about preforming and dress up, don't I?" Vano replied. Neither Reno nor Jardani could deny this was true. They knew all too well the antics and eccentricities of their lord and enjoyed them almost as much as their wives and children did. Vano continued: "There's no cause for alarm. Continue what you were doing and leave the girl with Dolly and I. We'll see to it she gets home safely."

 

Turning back to the girl in the corner, Vano indicated for her to go down the stairs. "Esmé and Alfonso next, please." He said.

 

Slowly, the girl moved from the corner and walked past him, leading the way down the stairs and back into the kitchen. With another couple of marbles, Alfonso was unfrozen and Esmé was freed. Vano repeated to them his explanation for the girl's magic and bid them resume their duties as well. Soon only Dolly, Vano, and the stranger were left alone in the ice-covered dining room.

 

Vano cast a brief look at the breakfast on the ground and the ice around it. "When you said breakfast was getting cold, Dolly, I didn't realize you meant it was freezing over." He said with an amused smile. Dolly growled his name through clenched teeth. She had gone stiff when the girl entered the dining room and hadn't relaxed since. Vano returned his attention to the child. He noticed she had her right hand hidden behind her back. She put it there while he was speaking to Esmé and Alfonso about play dressing, and kept it there even now. "There's no need to hide it. I've already seen it." He said, indicating toward her hand.

 

A look reminiscent of disappointment shone on the girl's face for a moment and she slowly let her hand fall to her side. There, on the back of her hand was the mark of her magic level. It was surprisingly high: Level 12 if he wasn't mistaken. Vano was also quick to notice the only thing on her wrist was a decorative wrap. She wore no magic bind.

 

"Alright, let's start from the beginning. What's your name?" Vano asked.

 "Bridgette. Bridgette Witch-Hazel." The girl replied. Dolly's stiffness intensified.

 "Where are your parents, Bridgette?" Vano asked.

 

"Where do you think they are, Human? They're gone, just like everyone else." Bridgette replied curtly.

 

Vano frowned, looking at her with understanding and pity. "Mine are too. How old are you?"

 

"Ten."

 "And when you lost them?"

 "I was six."

 

"You've been on your own since you were six?" Vano gasped, barely able to believe such a thing. Bridgette made no response.

 

"Well, what brings you here?" Dolly interjected, "What do you want?"

 

"I just wanted something to eat! There was more than enough on the table, I didn't think anyone would miss a slice or two of bread." Bridgette retorted defensively.

 

"No, you're right. We wouldn't have. But we'll all probably miss it now." Vano said wistfully, looking once again at the food on the ground. He didn't realize until just now how hungry he was. "It won’t do to ask Alfonso to make more. But I do know a few recipes, so perhaps I can make us something if he'll let me use the kitchen."

 

Bridgette and Dolly alike stared at him incredulously as he walked away. To say nothing of the fact that he left Dolly alone with a magician, and Bridgette knew she could run now if she wanted to, they both only wondered if he meant to say he was going to let Bridgette eat with them. Well, yes. Yes, he did. And she did, once Vano had finished preparing pancakes for them all. The three continued to talk while they ate so that both Dolly and Vano could learn more about their impromptu guest:

 

Bridgette was apparently Narvian, which explained why she had been so quick to trust in Vano's given word that he would not harm her. She had learned potion lore and alchemy from her mother, yet after her mother's death four years ago, she had practiced her magic all on her own. Her father had apparently died before she was born, fighting in the rebellion against King Haygen. Bridgette was diligently working toward improving her level to 50 so that she could follow in his footsteps and free her people from Haygen's oppression. As they spoke together, Vano was struck with the way Bridgette communicated. She didn't use the tone of a child; frightened, proud, or otherwise. She spoke with the competence of an adult, and one with a sure knowledge of how to care for herself. She met their eyes directly, seeming oddly secure in their company. It was both a wonder and a pain to Vano.  In Bridgette, he could see a child who had been robbed of her childhood.

Dolly and Bridgette had their own wonders that evening in regards to Vano: First, that he had let Bridgette stay to eat. Then, that he did not return his thoughts to the puppet show, but stayed attentive to his guest for the remainder of the evening. Lastly, he would not hear of Bridgette going back out into the storm at their parting, even though she insisted that she could find her own shelter for the night. The wind had changed unexpectedly, bringing a renewed fierceness to the storm that rattled the windows, and Vano absolutely refused to let Bridgette go out into it. Instead, he prepared a room for her so that she could stay somewhere warm and comfortable, with the promise that she could leave unhindered in the morning if she so desired, and even gave the key to her so none else could enter while she slept.

 

He left Bridgette standing by the bed where clean linen in her size, sent for and purchased that very afternoon, lay folded and awaiting use. The bedroom key was clasped in her fist, and a mixed look of suspicion and surprise was on her face when Vano left, carefully closing the door behind him. He had barely released the knob before he heard the sound of hurried footsteps and a click. Bridgette had wasted no time locking herself in. Vano chuckled to himself, then went back to the main room and there found Dolly by the hearth, tending the fire.

 

"Did you hear that, Dolly? A ten-year-old magician on a quest to defeat an oppressive evil." He laughed, "What a quest! It’s what tales of legend are made of!" With this, he propped an elbow on the mantle and rested his chin on his fist, bringing his other hand to his hip. He continued chuckling quietly to himself for a time before falling silent. Eventually, he looked again at Dolly. "You know, I've never seen a Level 50 Magician before. Their power must be incredible."

 

Dolly shot him a quick glance. "Don't even think about it." She warned.


 "Think about what? Helping Bridgette become a Level 50?" Vano asked, turning his back to the mantle and folding his arms.

 

"Helping her punish your uncle! You know how the magicians hate him. Punishment could very well mean his life." Dolly said seriously.

 

"Oh tush." Vano replied, tossing his head and one hand in dismissal. "Forget Haygen. Whatever crimes he's committed, real or imagined, I'll leave his judgement to a Higher Power. I'm talking about Bridgette. Four years on her own from the age of six, and she's already a Level 12! Do you realize the force of will and amount of dedication that she must possess, not only to have survived, but to thrive? It's inspiring!"

 

"It's terrifying." Dolly retorted with a shake of her head, "With determination of that sort, she could very well achieve her goal, and a Level 50 magician would be both powerful and dangerous."

 

"Not too powerful considering they're mostly extinct now." Vano muttered, "But you know, they ought not to be. Things are all topsy turvy now, but it wasn’t that long ago that a Level 50 Magician wasn't so rare. Think of it, Dolly. There might be a reason Bridgette ended up here." Slowly, he fell into deep thought.

 

“A reason? I highly doubt it’s divinely appointed that you help assassinate your uncle.” Dolly retorted.

 

“Dolly, please, forget Haygen.” Vano begged.

 

"How can I? You want to help this child, even knowing she wants revenge on your uncle!" Dolly said.

 

"Freeing one's self and one's people from oppression does not inherently denote revenge. And anyway, no. I just think becoming Level 50 is a worthwhile goal. It's hardly one that should be hindered for fear. Maybe, with a little guidance, her quest for greatness won't become a quest for revenge." Vano argued.

 

"Klippin Vano Kolompar. This child has bewitched you! You want to keep her." Dolly snapped, hardly believing what she could so clearly see was the truth.

 

Vano thrust himself away from the mantle. "And why not? I love the children in the city, but as much fun as we have together, I can't call any of them mine. They all go home to their own families at the end of the day. Well, now I've found a child no one else wants. Why shouldn't I keep her?"


 "She's not a lost puppy, she's a magician." Dolly replied bluntly.

 

"And the one person in the whole city who isn't bothered by that is Klippin Vano Kolompar." Vano said with a sweeping bow.


 The conversation lapsed into silence. Dolly pulled a face and muttered something under her breath. "What?" Vano asked, though he was sure he could guess. Dolly did not answer. "I know what you're thinking. You've said it before:" From behind his back he produced a hand puppet that looked like Dolly, and bounced it in front of his own face, waving its arm at his nose. "If you weren’t such a fool, you'd have a wife by now, and children of your own to entertain." He said in a snide, raspy voice, very like Dolly's.

 

"I never said that." Dolly retorted dully, not looking at him.


 "Well, maybe not those exact words, but close enough." Vano replied in his normal voice, coming to sit beside the old woman. Dolly sighed, seeming to concede the argument. She glanced at him with an affectionate, if somewhat pitying smile, then her gaze wandered to the puppet on his hand.

 

"Where do you get those things? I never see them on you before you pull them out, and you always seem to have the right one." Dolly asked.

 

Vano smiled mischievously. "Magic." He said, wiggling his fingers to indicate sparkles. Dolly scoffed. Vano returned the puppet to its hiding place behind his back, kissed the old woman on the cheek, then retired to his chambers for the night.



Updated: Apr 2

Long ago, astronomers looked to the heavens and decided to name the other planets in our solar system, eight beautiful and creative names: Mercury, Venus, Mars, Jupiter, Saturn, Uranus, Neptune, and Pluto. (Yes, Pluto is a planet, deal with it.)

All of these names were derived from Greek or Roman gods and goddesses, and by these names the planets have been known for centuries. Today, modern technology is helping us discover new stars, planets and galaxies, but what are we naming these newly discovered celestial objects? "TOI-411 b" and "KOI-7368 b".


...Uhm... What?


NASA addressed my concerns long before I voiced them. In their article "How Do The Exoplanets Get Their Names", part of the article reads:

"Let’s use HD 189733 b (a blue-ish planet where it may rain glass sideways) as an example. The first part of the name is usually the telescope or survey that found it. In this case "HD" stands for the "Henry Draper Catalogue,” a widely-used star catalog. The number 189733 is the order in which the star was catalogued by position (the 189,733rd star added to the catalog). The lowercase letter "b" stands for the planet, in the order in which the planet was found. The first planet found is always named b, with ensuing planets named c, d, e, f and so on."

With the situation explained to me, I understand and support the need for designations. Designations help keep things organized, and once you understand the system, it's easier to differentiate between discoveries. Even so, I think planets need proper names in addition to categorization.


We have half a million fictional characters here on Earth, we should name the stars, planets and galaxies we're discovering after these fictional characters, just like the Greeks and Romans did. Imagine it: A small red exoplanet called "Zuko", or a dwarf named "Astro-Boy", a gas giant called "Skywalker", and a big purple and white exoplanet named "Zelda"!


If HD 189733 b was also called "Shatterbird", you wouldn't have to describe it as "a blue-ish planet where it may rain glass sideways" because folks would already know that Shatterbird is the blue-ish planet where it may rain glass sideways, just like they know Saturn is the sandy colored planet with a giant ring. Just sayin'.

The official article ends by saying:

"In recent years, the International Astronomical Union, the international authority for the naming of celestial objects, has started the process of adopting proper names for exoplanets. The first batch of named exoplanets came from a contest open to the public, and included about 15 stars and 20 exoplanets."

I think that is a good, baby, ant-sized step in the right direction. But what are 15 stars and 20 exoplanets to the total tally of astrophysical discoveries? Trust me, International Astronomical Union, contests are fun but hardly necessary. If you just use fictional character names, you'll never run out. Using the Pokemon franchise alone you can cover 925 celestial bodies. It's working smarter, not harder.

Updated: Jan 11

For me, the Star Wars sequel trilogy will live forever in infamy alongside it's best-left-forgotten forerunner, the cringeworthy 'Star Wars' Christmas Special. But why?

Well, I'd say the primary antagonist of this aforementioned trilogy sums it up quite nicely:

"Let the past die. Kill it if you have to." - Kylo Ren, The Last Jedi

Unfortunately, for a sequel, this philosophy spells downfall.

Sequels are a continuation of the story told before. Everything about a sequel hinges on what was established in the previous tale, otherwise it doesn't make any sense and to call it a sequel would be false advertising. The very marketability of a sequel depends ENTIRELY on how successful its predecessor was and how badly the audience wants to know what happened next. Sequels carry no weight on their own, so "killing" what came before is the pure essence of self-sabotage.


Sequels are tricky:

If the last film ended in a cliffhanger, we expect the sequel to pick up where the last story left off, but if everything was wrapped up nicely with a bow in the last film, the sequel can only be about a brand new adventure.


Exploring a brand new problem with a character that we already know and love subsequently allows us to discover a brand new side of that character. You've got to be careful to do something new without destroying what has already been established. Lilo & Stitch 2: Stitch Has A Glitch is the best example: The first film focused on the development of a friendship and highlighted the importance of family. The second film showed us the other side of the coin; that sometimes friends fight and family members can have problems we don't understand, but friendship and family is still important and may be the only thing that can fix the problem in the end. See? They gave us a new struggle, but didn't negate what had been previously stated. In fact, they reiterated it.

Be careful to avoid redundancy in the character's growth, the next film has got to focus on the next event. Say a character struggled with selfishness in the first film but learned to be selfless by the end. What good does it do us to watch him struggle through a selfishness relapse? Yes, in real life folks will make the same mistake over and over, or have to learn the same lesson more than once; but we don't get a lifetime with this fictional character, we only get an hour or two. A movie has to take us through the whole event from beginning to end, so the character has got to learn the lesson and learn in permanently. Even if the movie has sequels, the character can not keep learning the same lesson in each film. Focus on the next event. If you want to explore that realistic "relearn it" thing, it is better done in a series, because a series has the luxury of going through the process step by step.


For sequels that introduce the next generation of heroes, we get brand new characters and must inherently have brand new problems as well, otherwise you are cheating both your characters and the audience. The Star Wars trilogy is a prime example of this: We had new and refreshing concepts for characters; a Force-sensitive girl, a stormtrooper deserter, and an upstanding Republic pilot. It sounds like quite a promising trio, doesn't it? Sadly, they were not allowed to grow as themselves or discover their individuality, but were instead forced to relive a tale that had already been told. They were wasted. References to old events and struggles can be nostalgic, but only AFTER the new characters are who they are and not mere copies of the characters that came before. Had Rey been allowed to live her own story instead of recreating Luke's, I think she'd be just as celebrated by now.


Speaking of Luke, "Let the past die, kill it if you have to." Kylo said, and I dare say that is EXACTLY what the writers did. The old characters that we knew and loved died right in front of us, one by one. That was probably the worst idea ever. You don't have to kill or undermine past characters in order for the new ones to shine. You can let the new characters grow on their own without disregarding the characters that came before. Avoid murdering the past characters at all costs!-- Seriously, I can't think of a single instance where killing off the old characters was a good idea. Lord of The Rings is a good example for agreeable alternatives if you need the old characters out of the way: Bilbo would've hindered Frodo's progression as an individual, but Tolkien didn't kill him off, he simply found somewhere else for him to be. Killing off old characters so the audience is forced to love the new ones is ineffective. If you feel bringing back the old characters is too much of a threat to what you are trying to accomplish with the new characters, then don't bring them back. I'd honestly prefer never to see them again rather than to be reunited just in time to see them die.


A saga is even more tricky than a sequel:

A sequel continues the story by adding something new to what was established in the first film. As far as sagas are concerned, multiple things have been established and multiple lessons have already been learned. This makes sagas even more tricky than sequels. Sagas are also far more dangerous than sequels, because a bad sequel can be swept under the rug and disregarded, but one bad apple in a saga spoils the whole bunch.

Take the Toy Story franchise for example: Each film establishes a little more of Woody's character, but by Toy Story 4 all that growth disappears. His sulking that he's not getting played with completely annuls the conclusion he came to in Toy Story 2, and his flippant disregard for Bonnie over his memory of Andy contrasts his actions in Toy Story 3. Even Toy Story 1 is mocked. Seriously, how did we go from 3 films of "You've Got a Friend in Me" to "The Ballad of a Lonesome Cowboy"?


Don't contradict what the previous films have established. If there's nothing more to add, there's no reason to continue that storyline. Do a spinoff instead.

...And on a personal note, be clear that it's a spinoff. I really detest false advertising. The title "Rise of Skywalker" feels misleading since all the Skywalkers are dead in the end and it wasn't made clear enough that they adopted Rey. So yeah.


Sequels and remakes are different:

The trick with sequels is the recreation of the ride without the recreation of the story. You know what worked in the previous film, but its important to remember that it worked BECAUSE it was the previous film. The Force Awakens and The Rise of Skywalker mimic the plot of the original trilogy a little too closely: Instead of establishing an original problem and villain, they recreate the last problem and resurrect the last villain. The origin story of the main protagonist and the primary antagonist's fall from grace are almost exactly like the original trilogy as well. So technically, the sequel trilogy is not actually a sequel. By definition, it is a remake.


The Last Jedi breaks violently from this pattern-- Too violently. It destroys everything. Absolutely everything. Even things we did not want destroyed. It comes in abrupt contrast to The Return of The Jedi, even without context. Hey, the Jedi are back! Oops, no they are not. Which basically wraps up the entire point of this post: Respect the past. Don't live in it, but don't destroy it either. How can we appreciate how far you've come if you erase the starting line? It's not always for the best that the sequel feels like the first film, but you should always pay attention to what the first film has said.

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Imagination is the seed of creation, so imagine something good.

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