Konnichiwa Vader-Kun!
Introduction
Back in 2012, Disney managed to purchase Lucas Films along with the rights to Star Wars and Indiana Jones. Back then, it seemed like the House of Mouse could do no wrong, as it surfed the wave of success from the MCU goldmine.
Disney’s first big step into the galaxy far far away was to remove the entire extended Universe (except for the Clone Wars Series) to restructure their own canon. They started with a bang thanks to the success of The Force Awakens, a soft reboot for a new generation of fans and their darker yet outstanding Rogue One was a rousing triumph, as well.
However, the balance of the force was shifting, thanks to two divisive sequels and one very lacklustre spinoff that no one really wanted. Disney could feel the fan backlash breathing down their necks. These issues were made even worse due to several controversies surrounding EA’s Star Wars: Battlefront series.
Fortunately, Disney has managed to make a few course corrections for some of their more questionable decisions. The entertainment giant seems to have found more success on the silver screen, with The Mandalorian receiving praise for its phenomenal production. Even their video games are starting to look much better after several patches to Battlefront 2 and the release of Star Wars Jedi: Fallen Order.
Despite all this new content, the franchise has reached a point of stagnation centred around the Skywalker Saga. With the exception of the High Republic comic book series, there isn’t much exploration outside of the safety of the familiar themes. It could be possible that all the interesting new bits were lost with the omission of the extended universe.
Then comes Star Wars: Visions, a 2021 anime anthology animated by some of the best studios in Japan to produce the glorious booster shot of creativity this franchise really needs.
Storylines
While most of the narratives did feel unique in their own ways, the majority of them still culminated in the never-ending battle between two folks with lightsabres. However, there are some exceptions, such as Studio Colorido’s Tatooine Rhapsody, a rock opera of an episode where a band of misfits have to perform one last time in front of Jabba the Hutt with their lives on the line. Funnily enough, that is the only episode that uses familiar characters with the appearance of Boba Fett to the previously mentioned Jabba the Hutt.
That said, some of these did add a bit of a spin to the established lore. The emphasis on Japanese culture is strong in several episodes, where the Jedi and Sith are viewed as Samurai clans with their lightsabres standing in as katanas.
Visions’ opening episode, produced by Kamikaze Douga, leaned into those ideals, presenting two warriors armed with lightsabres duelling in a very feudal Japan setting. On the other end of the spectrum, the episode titled Lop and Ocho focuses on elements of tradition versus progression, with the lightsabre being presented as a symbol of succession and familial bond.
Speaking of lightsabres, the show is not afraid to be imaginative with the series’ signature weapon. They introduced many different and fresh variations of the laser sword, from magnificent patterns and shapes of the iconic design to more extreme differentiation. One of my favourites was the umbrella-like weapon introduced during the first episode.
As for the episode structure, many of them end with a cliffhanger, such as Studio Trigger’s Twins and Production IG’s The Ninth Jedi. Could we be expecting a continuation to these episodes further along the line, or is Disney trying to sneak in a backdoor pilot to some anime series? Only time will tell.
Animation and Style
In terms of animation, everyone brought something new to the table. Some art styles were instantly recognisable, such as Kamikaze Douga’s CGI filled opening episode. The desaturated colour palette was like watching a classical Akira Kuwasawa movie but had all the work and movement of Batman Ninja.
Studio Trigger’s Twins incorporated several of their trademark techniques, such as the use of cost-effective limited animation, combined with a strong emphasis on colour and style to give the scenes a little more edge. As usual for a Studio Trigger animation, everything escalates to the point of sheer insanity, and that goes as well for the animation.
While the other studios performed admirably, Science Saru’s animation left a feeling of wholesomeness to its narrative. While not flashy as the rest of the episodes, it had an almost vintage approach to it. The aesthetic is reminiscent of shows like Astro Boy or Megaman, complete with a professor who looks similar to Doctor Light.
Characters and Performances
As mentioned before, only the second episode incorporates legacy characters into its narrative. The other episodes have their own original roster, which all vary in the personality department. I was fond of the dynamic between Lop(Anna Cathcart)and Ocho(Hiromi Dames), two sisters fighting for what they believe is best for their family and planet. Their fight is not about good versus evil but a bout over the fate of the planet’s traditional beliefs.
Then there is F(portrayed by Karen Fukuhara), a fallen Jedi on the run from the empire trying to find her confidence on a planet filled with unusual customs and traditions for the Star Wars mythos. The Village Bride is a slow episode that spends its time building F’s resolve before her final battle.
The characters were all exceptionally well played, with several big names such as Neil Patrick Harris and David Harbour being among the cast. However, the lack of time prevented me from getting attached to any of them. Each episode of the anthology spanned for something between 12 to 22 minutes. Yet, I can imagine the fan base filling up the gaps with some “interesting” fiction of their own. Sorry, Lop.
Conclusion
Despite not being canon, Star Wars: Visions is a breath of fresh air for the franchise, which also shows the potential for growth for this old series. Any of these episodes could generally work as backdoor pilots to newer projects and have the potential to be their own thing further down the pipeline. Despite Disney opening the floodgates for Star Wars content in recent years, this is the first time they have produced something genuinely remarkable without riding on the Skywalker Saga’s coattails.
