At long last, the trilogy that began with Aftermath, the flagship title in Lucasfilm’s Journey to Star Wars: The Force Awakens publishing endeavor (man, remember that?) has come to its conclusion. By now, no doubt many of you have already voraciously consumed Chuck Wendig’s novel Empire’s End, but for those of you waiting to hear what the audiobook version narrated by Marc Thompson has on offer, I’ve got you covered.
Film novelizations are, in their own way, just as tricky a needle to thread as film adaptations of novels. You’re taking someone else’s words and ideas, meant for one medium, and transposing them to another, hopefully doing them justice while at the same time adjusting and adapting them to fit the new medium. At their best, film novelizations can open up the world of the movie considerably, adding more scenes and characters and background information which couldn’t possibly be crammed into a two or even three-hour movie. At their worst, they’re a limp, lifeless transposition of the screenplay, lacking any of the energy or vitality which made the film entertaining. The Vonda N. McIntyre novelizations of Star Trek 2 – 4, or Peter David’s adaptation of The Rocketeer, are examples of the former; the Alan Dean Foster adaptation of The Force Awakens, the latter.
So where does Rogue One’s novelization fall? Somewhere in between. It doesn’t wildly expand the scope of the film, but it fills in just enough gaps in characterization and plot to make it, I’m shocked to report, the first novelization I’ve ever read that I enjoyed more than the film it was based on. Continue reading
We’re less than a month out from Rogue One and discovering just what a non-Saga, “anthology” Star Wars film looks like. Lucasfilm seems to be dipping its toe in the non-Saga pool gently, giving us a story — the theft of the plans to the first Death Star — separate from but still intrinsically linked to the original Star Wars film. In the meantime, to whet our appetites and give us some backstory for the characters we’ll meet in the film, Legends and Tarkin alum James Luceno has brought us Catalyst, the story of Galen Erso and Orson Krennic (Mads Mikkelsen and Ben Mendelsohn in the film, respectively) and how their unlikely friendship led to the development of the galaxy’s most powerful weapon.
Random House has consistently released audiobook versions of the novels in the new canon, and Catalyst is no exception. Catalyst is performed by Jonathan Davis — not the lead singer of Korn, but the veteran of more than four hundred(!) audiobook recordings, over of thirty of which were under the Star Wars banner.
So, how does Catalyst work — as a stand-alone novel, as a film prelude, and as an audiobook production? Read on to find out! Continue reading
John Scalzi is a busy guy. In between writing novels, winning Hugo awards for said novels, and extolling the virtues of churros on Twitter, he’s managed to write a short story called “The Dispatcher,” which, as read by Star Trek’s Zachary Quinto, was released earlier this month as an Audible exclusive, for free. The audio story will remain free until November 2, so we thought we’d give it a listen and let you know if it’s worth your time.
Ever since Ahsoka Tano walked into the sunset in the season five finale of The Clone Wars, I’ve hoped for a novel or a comic series detailing her post-Jedi existence. The release of Darth Maul: Son of Dathomir and Dark Disciple, a comic and a book, respectively, based on storied intended to be The Clone Wars story arcs, heightened my anticipation. Fortunately, right on the heels of the Rebels season two finale — which showed Ahsoka once again striding away from the camera into an uncertain future — we got the announcement that everyone’s favorite Togruta Padawan would indeed be getting her own novel. Heightening the excitement was the later announcement that the voice of Ahsoka herself, Ashley Eckstein, would be performing the audiobook.
To the jump!
By now a great many of you have likely already purchased and read Life Debt, the second novel in Chuck Wendig’s Aftermath trilogy. Some of you may be waiting, however — for payday, for a free moment … or for someone to help you decide between the print version and the audio version. Likewise, there may be some of you who, for whatever reason, aren’t able to (or prefer not to) read the print version, and may be waiting to hear if the audiobook is an acceptable presentation of Wendig’s prose. Hopefully this review will help those folks, as well as anyone else who might be considering the audio version, decide if it’s for them.