Al Kennedy: "I do care about everything I write, but dealing with a hugely loved character and 50 years of world-building – that felt different. Different in the sense of being horrifying and wonderful."
Adam Rogers: "The shared universe represents something rare in Hollywood: a new idea. It evolved from the narrative techniques not of auteur or blockbuster films but of comic books and TV, and porting that model over isn’t easy. It needs different kinds of writers and directors and a different way of looking at the structure of storytelling itself. Marvel prototyped the process; Lucasfilm is trying to industrialize it."
Katharine Trendacosta: "Whatever question you had after seeing the original movie? The shows answered them. Who built the Stargates? Why are there so many symbols on them? The evil alien pretending to be Ra, where did he come from? Are there other planets out there?"
James Whitbrook: "When a franchise is around for four decades, it can get impossibly unwieldy to try and grasp its lore — and Star Wars canon is no exception. Here's a guide to the origins of Star Wars Canon, the rise and fall of one of the most prominent Expanded Universes in fiction, and where the saga stands with Disney today."
Esther Inglis-Arkell: "Worldbuilding is a major challenge for science fiction creators -- building a plausible world from scratch involves thinking about lots of variables. But sometimes, to imagine the future, the best way is to look to the past. Classic literature can help you build a world more believably alien than anything you've yet imagined."
Michael Cavna: "Disney is thinking so far beyond sequels — first with its Marvel Cinematic Universe, next with its Star Wars galaxies — that it is now fully, successfully engaging viewers across interlocking narratives. Each time a film like “Civil War” can land with audiences — building upon and/or introducing a dozen key characters — the universe can move not just linearly, but also multilaterally."
Chuck Wendig: "[...] I wanted to take a look at the film for some of the storytelling lessons it offers — in this case, not negative lessons (of which you could find some, I’m sure), but rather, positive takeaways that might wet your mind whistle when it comes to thinking about your story or other stories or, I dunno, delicious enchiladas."
ABC Radio: "Fans have long had a role in influencing and in some cases helping to shape the works of popular culture they adore. But when they get restless in the modern age, they now have the resources to take a piece of fiction and make it their own. Some content producers find that assertive approach threatening. But others, particularly in the gaming sector, have begun to embrace it."
Anne Zeiser: "Just as Disney and Lucasfilm have orchestrated it, you must go see Star Wars: The Force Awakens to untangle all of its mysteries. But in the meantime, you can scour Star Wars-themed products on grocery shelves and retail stores to look for more clues."
Adam Rosenberg: "Like many of the stories coming out in the run-up to The Force Awakens, Uprising exists in a strange place. There's 20 years of history separating Return of the Jedi from the December film, which is a lot of time for any one piece of fiction to cover."
Charlie Jane Anders: "Worldbuilding is the bedrock of science fiction and fantasy. We obsess about it constantly, because characters and plots are often only as compelling as the worlds they inhabit. We've decried bad worldbuilding before -- but what makes worldbuilding great?"
Lauren Davis: "Earlier this month, Harry Potter creator J.K. Rowling released a short piece of prose that offered a quick look at Harry Potter and his Hogwarts classmates as adults. The response indicated that fans are still hungry for stories of the wizarding world—and perhaps it's time for someone other than Rowling to give it to them."
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