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Said just about everyone. Those magic six words have been impressed into the consciousness of planet Earth by the almighty behemoth of Star Wars. The forceful phrase of goodwill, meaning that the Force is in the addressee's favor, was first forced out from the (barely worthy) throats of Han Solo and General Dodonna in Episode IV — A New Hope (1977), and has appeared throughout the franchise.

ALWAYS! IT WILL! FORCE! AAH! Now there's a ball curvier than BB-8. The suffixing of the phrase with 'always' and the interjection of 'will' is a rare beast — it only appears once, in Episode IV — A New Hope.

You may have met the word 'always' before, but I bet you don't know the origin. 'Always' is an adverb that can mean every time; all the time; forever; or at any time. It first appeared in the 14th Century as a compound of the Old English phrase 'ealne weg,' meaning 'all the way' of space or distance. This root fits with the Force being a metaphysical power spread across the universe.

The phrase ended with 'always' from Obi-Wan is prescient. It is a final lesson to Luke about what happens to true Jedi masters when they die. They have 'become One with the Force,' as is explained in the Expanded Universe novels, according to user Jeff on this sci-fi thread , and the reason why Obi-Wan (and Yoda) disappear when they die.

The implication is that they have now become part of the Force as Force ghosts ! These ghouls are divorced (or diforced) from life but can still communicate with the living. They shed their body, get absorbed by the Force and become pure energy — hovering as milky energy a bit like Casper the Friendly Ghost.

The well-known phrase is often said to individuals as they impart on a dangerous challenge. Kind of like 'break a leg,' 'bon chance' or 'go get 'em tiger.' I wish Obi-Wan had said any of these. It also has undertones of religious incantations, like 'peace be with you' in the Christian Church.

In the six original films altogether the exact phrase has been unleashed a grand (Moff) total of 14 times. It was said just once in The Force Awakens last year, with Leia holding a candle to its mysterious power by saying it to Han Solo.

It is threaded throughout the franchise, the verbal glue of Star Wars. It also appears in the literature — in the intro for Star Wars Rebels: The Visual Guide Dave Filoni wrote: 'The Force will be with you, always.' In The Adventures of Luke Skywalker the Jedi Knight says: 'May the Force be with you' against a star-strewn backdrop. The last sentence of The Rebellion Begins says: 'May the Force be with them all.'

Canonverse but Omegaverse: Though everyone can choose whomever they want as mate, your one true mate, the mate with which you 'sync', is your one best match in the entire galaxy. Poe recognizes Finn as his sync-mate immediately, but Finn is reluctant - extremely.

Kylo Ren is severely injured in a battle and left to die in a thick forest on your home planet. Having been influenced by a strange dream, you adventure outside of your house only two days after the battle has ended. Will the strange and half dead man you find in the forest drag you into the galactic war that you have been avoiding? Or maybe the war has already found you...
(The story is supposed to take place a little after Star Wars: Episode VII)

Ren had enough on her plate with fencing competitions, getting her PhD in dark matter physics, and just generally living up to her grandfather’s legacy, that she hadn't thought too hard about the enemies-with-benefits thing she had going with Hux. But it was after a summer apart, in a lab on the other side of the world, that Ren realized she may want more from their nebulous relationship than Hux was willing to give.

Kylo Ren is a renowned smuggler in the Galaxy. He left his old life long ago and is much more satisfied with his new life, but after being offered a job by a former First Order General he must make a decision that may change everything he worked so hard to achieve.

Hux is a retired Army General, running low on funds and VA benefits pay next to nothing. Phasma turns up with a job that pays well, but requires protecting, rather than murdering, the irritating spoiled brat, Kylo Ren. The brat's run off bodyguards for anything from seducing them to driving them to violence. Now, his parents seek someone else to fill the position. Hux wonders how long it will take him to bend the tantrum-throwing hell-spawn over his knee and give him the paddling he so richly deserves.

Re-Entry is an alternate universe epic that spans time and possibility. Obi-Wan Kenobi, while still a young Padawan, suffers an injury and wakes up with all of the memories, experience, training, and Force-strength of Old Ben Kenobi. It isn't long before the Jedi discover that Anakin Skywalker, a five-year-old slave from the Outer Rim, has undergone the exact same change. Obi-Wan and Anakin bear the scars of harsh lessons learned; those who love them must learn those lessons quickly, before the mistakes of old are repeated.

He knows this because it's is his immediate response to the news too. It makes sense; after all, Hux is hardly irreplaceable. He is merely a man and though Snoke will be hard pushed to find someone as smart, as loyal, as quick as Hux there is no shortage of suitable successors. Besides, men break easily and when men break they talk.

Rey has been a wanderer all her life, until she found her calling in Environmental Studies at NYU. For the first time in her life, she's got friends, and a pseudo family, but there's one thing that could tear it all down.

The past couple of decades, since the heyday of Vertigo, have seen mainstream comics becoming a much more diverse genre playground. It could be argued that Image only really found its footing, and started living up to its mission, when it virtually abandoned the superhero fare that made its founders rich and started catering to the passions of smaller creators. As such, whenever there’s something of a “new genre renaissance” in mainstream comics, Image is usually at the spearhead of it, but none more so than the resurgence of “real” Science Fiction, material that can trace its influence to some of the more cerebral and weirder novels of the 1950s rather than just Star Wars .

Without spoiling too much, it suffices to say that this Utopia suffers a major cataclysm, which throws society into tumult. There are robot purges in several places in the galaxy, and there are cities in which as many as 4.5 billion have died, spread across entire worlds. Amid all this, we get to see a couple of different points of view in the effort to discover what cause the cataclysm, a desperate robotics scientist living in the capital city of this galactic civilization, and a lone robot living on a secluded outpost who may well be the key to unlocking the mystery of the cataclysm. It’s a unique story to SF comics in that, as yet, there’s no great enemy to fight, but a problem to be solved.

The keystone to Descender is easily Dustin Nguyen’s gorgeous watercolor artwork. It’s some career best work, and contributes to storytelling on just about every level. The layouts are well thought out, certainly, but it’s the sheer artistry in the composition of every image that really impresses and evokes the themes and feelings in the narrative. While much of the events that transpire carry dark tidings, Nguyen gives the proceedings something of a lighter, more tender touch. In certain sections of the story, this is absolutely essential, and goes a long way in selling the humanity of certain nonhuman characters.

It’s a bit early to tell if the hype surrounding Descender is deserved. Given the talent involved, it’s likely, and I can’t wait to see what this series looks like as it’s completed. This first issue alone represents a vision that is solid, and concrete. Hopefully, it keeps holding together.

D.S. Randlett lives in the hills of Virginia and takes credit for the reviews that his emaciated twin brother writes while chained to the old radiator. He plays his guitar while biding his time for unsuspecting tourists and thinking about going to grad school.

This Spider-Woman series came to the stands with a lot of baggage. More baggage than most, perhaps a record-setting amount of baggage. The character’s previous series, from Brian Michael Bendis and Alex Maleev was a promised blockbuster, the duo’s follow-up to their magnificent Daredevil run. For the first time ever a comic was being concurrently released as a monthly issue and a motion comic, but the demands of the latter burned the writer and artist out quickly,and much to the disappointment of fans of the creative team and character it ended after seven arguably mediocre issues/episodes. Bendis brought Jessica Drew into his core Avengers team but it wasn’t quite the same spotlight as having her own high profile starring vehicle.

Half a decade later, this new series was at best mildly anticipated by Spider-Woman fans, the first disappointment being that it was launching as a tie-in to “Spider-Verse”. Launching a title as a tie-in to an event in part excludes potentially interested readers who are not engaged with the event (like myself). As well, having the event be the driving thrust makes it harder to establish the status quo for a new series and its character.

I haven’t looked at the numbers, I can’t tell you how the first four issues did after the hubub and furor of “butt-crevasse-gate” or whatever its been dubbed (I stopped paying attention due to butt-crevasse-gate fatigue), but given the prompt retooling in only its fifth issue, the response was decisive and relatively swift by Marvel to change things, and change them for the better.

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Star Wars: Knights of the Old Republic is a role-playing video game set in the Star Wars universe. Developed by BioWare and published by LucasArts , the game was released for the Xbox on July 15, 2003, for Microsoft Windows on November 19, 2003. The game was later ported to Mac , iOS , and Android by Aspyr , and it is playable on Xbox 360 via the latter's Backward Compatibility feature.

The story of Knights of the Old Republic takes places 4000 years before the formation of the Galactic Empire , where Darth Malak , a Dark Lord of the Sith, has unleashed a Sith armada against the Republic. The player character, as a Jedi, must venture to different planets in the galaxy in order to destroy Star Forge, Malak's military resources. Players choose from three character classes and customize their characters at the beginning of the game, and engage in round-based combat against enemies. Through interacting with other characters and making plot decisions, the alignment system, will determine whether the player's character aligns with the light or dark side of the Force .

The game was directed by Casey Hudson , designed by James Ohlen , and written by Drew Karpyshyn . LucasArts proposed developing a game tied to Star Wars: Episode II – Attack of the Clones , or a game set thousands year before the prequels. The team chose the latter as they thought that they would have more creative freedom. Ed Asner , Ethan Phillips , and Jennifer Hale were hired to perform voices for the game's characters, while the soundtrack was composed by Jeremy Soule . Announced in 2000, the game was delayed several times before it was finally released in July 2003.

The game received critical acclaim upon release, with critics aplauding the game's characters, story, and sound. It was also nominated for numerous awards, and considered as one of the best games of all time . A sequel, titled Star Wars: Knights of the Old Republic II – The Sith Lords , developed by Obsidian Entertainment at BioWare's suggestion, was released in 2004. The series continues with 2011's Star Wars: The Old Republic , a MMORPG developed by BioWare.

Players choose from three basic character classes at the beginning of the game, and later choose from three Jedi subclasses. Beyond class, a character has "skills" stats, tiered "feats", and later on, tiered Force powers, similar to magic spells in fantasy games. Feats and Force powers are unlocked every level-up , while the player is given skill points to distribute among their skills every level.

Combat is round-based; time is divided into discrete rounds, and combatants attack and react simultaneously, although these actions are presented sequentially on-screen. The number of actions a combatant may perform each round is limited. While each round's duration is a fixed short interval of real time, the player can configure the combat system to pause at specific events or at the end of each round, or set the combat system to never automatically pause, giving the illusion of real-time combat. Combat actions are calculated using DnD rules. While these are not displayed directly on the screen, the full breakdown for each action (including die rolls and modifiers) are accessible from a menu.

For much of the game, the player can have up to two companions in their party . These companions will participate in combat. They can be manually controlled by the player, or act autonomously if the player does not give them any input. Outside of combat, the companions will randomly engage the player or each other in dialogue, sometimes unlocking additional quests. They will also participate in conversations the player has with other non-player characters .

Non-combat interaction with other characters in the game world is based upon a dialogue menu system. Following each statement, the player can select from a list of menu responses. The dialogue varies based on the gender and skills of the main character.

A sweeping dramatic shot of LUKE SKYWALKER, mounted on a white snow-lizard, racing across a white snowy landscape.  Luke’s scarlet cloak flies in the wind.  Curving plumes of snow rise from beneath the speeding paws of the lizard.  All about in the distance, snow-wraiths blow on the wind across a cruel and beautiful landscape, in the light of a strange sun.

The low ridge rises from the plain like a long-backed dune of snow.  Luke gallops up the slope into CLOSE SHOT and reins his lizard to a halt.  Luke’s face is protected by a masking helmet and goggles, but now he pushes up the goggles so that we can see that it is indeed Luke.  He looks keenly about at the land beyond the ridge.  He carries a blaster on his right hip and his light-saber on the left.

More of the lovely, cruel, white country, apparently deserted except for the blown veils of snow.  Dimly there appears through these veils a formation of rocks or perhaps ice of exceptional beauty, catching points of fire from the sun.

Luke readjusts his helmet and goggles, looks off at the alluring ice-formation, and starts jauntily off along the farther slope of the low ridge, angling his mount in a graceful curve.  The scene is one of sheer beauty, both in motion and setting.

He lies motionless in the snow, bleeding , his helmet torn, goggles gone, one side of his face a mass of blood.  Above him, obscure in the snow-cloud, the white monster looks down at him, then bends and grasps him by one ankle and drags him away.

The ice castle is a natural structure of great beauty with fantastic domes and spires, much akin to the one that lured Luke into trouble only larger.  No banners fly from its “battlements”.  There are no visible sentries and the wind-scoured ice of the approaches shows no tracks.  Yet Han Solo gallops his snow-lizard confidently toward the blank glittering wall of the structure.  In upper natural caves hollowed out there are hooded gun emplacements and radar installations all constructed to be invisible from above.

Inside, the ice has been hollowed out into a series of chambers and halls.  In this, the outer court, Han dismounts and gives his lizard to an attendant.  Stripping off helmet and goggles, he hurries on toward an inner door.  Here he is stopped by a SOLDIER JUNIOR OFFICER on duty with several SOLDIERS.

He turns and strides impatiently across the inner hall, which is large and busy, with people and robots going back and forth on errands.  There are corridors opening off the hall, and a bank of lifts.  Han Solo steps into one of these and is taken down.  The officer meanwhile turns to an intercom.

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Princess Leia is Marvel's third new Star Wars comic since re-taking control of the franchise this year. It's also the third comic to be set in the period between Episodes IV and V. Marvel runs the risk of burning readers out on this particular time period, especially as Del Rey's novels are also focusing more and more on the Original Trilogy era. Luckily, the focus on Leia and the expert wordplay of writer Mark Waid help this new mini-series stand out among an increasingly crowded pack.

This first issue picks up immediately following the conclusion of Episode IV, giving it a bit of distance from Jason Aaron's Star Wars and Kieron Gillen's Darth Vader. The Rebellion's first order of business after bestowing medals upon Han and Luke (and ignoring Wedge and Chewbacca's contribution's) is to hit the panic button and scramble to find a new home base before the Empire wanders by and discovers their new toy has exploded. This puts Leia in a tricky position. The Rebels need leadership and guidance, but all anyone expects her to do is mourn the planet of Alderaan. Making matters worse, she's now a wanted fugitive with a price on her head to rival Han's. That makes leaving her room and joining the front lines much more difficult.

It's a great platform on which to build a series. Historically, Leia has never received the attention in the Expanded Universe that Han and her children have. Her character arc as she deals with the destruction of Alderaan and her changing role in the galaxy is one that sorely needed fleshing out in the new, Lucasfilm-approved continuity. That struggle gives this book a certain sense of immediacy that the other Star Wars lack. It's a more emotional and character-driven affair than the other two comics.

In that sense, Marvel could hardly have found a better writer for the job than Mark Waid. Waid's writing style is fairly Star Wars-y as it is - adventurous, fun, dramatic. But as we've seen with his current Daredevil run, he also has a real knack for working with complicated, troubled heroes and exploring their psychology. This series follows the approach of Marvel's other Star Wars comics by avoiding narrative captions and striving for a more cinematic tone. The main difference with Waid's approach is that his writing is more dialogue-heavy than Aaron's or Gillen's. There's still some action to be had in this issue, but there's a great deal of focus on Leia's conflicting desires and how the men and women of the Rebellion perceive her in the aftermath of their first big victory.

Princess Leia #1 continues Marvel's trend of pairing great writers with great artists on these new titles. Given Terry Dodson's tendency to tackle female-driven books, it's not surprising he was chosen to team with Waid. Unfortunately, the visual execution of this issue isn't without its problems. The facial work in particular lacks clarity in many panels, though this seems to be an issue with the inking as much as anything. Dodson at least brings a sleek, cinematic look to the series. This might almost be a problem in itself, as the Original Trilogy aesthetic is defined by its grungy, lived-in look. Luckily, Jordie Bellaire's colors dull that sheen and heighten the sense that the rebels are a ragtag band of misfits making due with whatever supplies they can get their hands on.

Marvel's Star Wars hot streak continues with the release of Princess Leia #1. This newest series fills an important hole in the Star Wars timeline and gives Leia the starring vehicle she deserves. While a few flaws drag this debut issue down a bit (the Luke/Leia scene, uneven facial work), it's still a solid addition to Marvel's growing lineup. But maybe give one of the leads a different haircut next time?

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