Tag: Game of Thrones

Words of Divination – Words that end with the Greek element ‘-mancy’

Continuing my series of posts on words from the same etymological families, in this post we will look at words that end in ‘-mancy’.

‘-mancy’ is a word-forming element of Greek origin that means ‘divination by means of’. For example, ‘cartomancy’ is ‘divination by means of playing-cards’. And ‘tasseomancy’ is ‘divination by means of reading tea leaves’ (which you might remember from Harry Potter).

We also use words ending in ‘-mancy’ to denote kinds of magic. ‘Necromancy’ is often used to mean a type of magic capable of reanimating dead bodies. ‘Pyromancy’ is often used as a general term for ‘fire magic’ – as in Game of Thrones. (Interestingly, it is the Mad King’s fire mages who are called ‘pyromancers’, but Melisandre is far more fitting of the term, since she does actually use fire for divination.)

This family of words is, clearly, of great use to writers of fantasy. And, it turns out, there are a lot more words in this family than one might first expect – most of them aren’t used very often – perhaps an opportunity to bring some back.

Below are words ending in ‘-mancy’ that I’ve been able to find in dictionaries.

WordMeaning and EtymologyAgent Noun
bibliomancydivination by means of opening a book at random; from Greek biblion, meaning ‘paper’, ‘scroll’; could perhaps also be used to refer to any magic that uses booksbibliomancer
spodomancydivination by means of ashes; from Greek spodos, meaning ‘ashes’, ’embers’spodomancer
sciomancydivination by communication with shades of the dead; from Greek skia, meaning ‘shade’, ‘shadow’; could perhaps also be used just to mean ‘shadow-magic’sciomancer
chiromancydivination by the hand – palm-reading, essentially; from Greek kheir, meaning ‘hand’; could also be used to refer to any kind of magic that uses hand gestureschiromancer
geomancydivination by means of signs in the Earth – from Greek ge, meaning ‘Earth’geomancer
lecanomancydivination by inspection of water in a basin; ultimately from Greek lekos, meaning ‘plate’, ‘pan’; could also be used to mean divination by inspecting broken plates or potterylecanomancer
capnomancydivination by smoke; from Greek kapnos, meaning ‘smoke’capnomancer
gyromancydivination by walking in circles; this is quite a funny one; from Greek gyros, meaning ‘circle’gyromancer
crystallomancydivination by means of crystals – looking into a crystal ball; from Greek krystallos, meaning ‘clear ice’; this word could also be used for ‘divination by looking into ice’ or ‘ice magic’crystallomancer
rhabdomancydivination by use of a divining rod; from Greek rhabdos, meaning ‘rod’, ‘wand’, ‘staff’; could also just be used to mean ‘wand-magic’ – so possibly quite a useful word; much of the magic in Harry Potter could perhaps be described as rhabdomancyrhabdomancer
rhapsodomancydivination by means of verses; from Greek rhapsodos, meaning ‘reciter of epic poems’; could be used to refer to any kind of magic that uses incantations – and so, like rhabdomancy, could refer to a type of magic that appears commonly in fiction; could also be used to refer to a kind of magic that uses songsrhapsodomancer
cartomancydivination by means of playing-cards; from Greek khartes, meaning ‘layer of papyrus’; could be used for any kind of magic that involves papercartomancer
astromancydivination by means of the stars and planets – what today is commonly called ‘astrology’astromancer
oneiromancydivination through dreams; from Greek oneiros, meaning ‘dream’oneiromancer
ophiomancydivination through interpreting the movements of coiling snakes; from Greek ophis, meaning ‘snake’ophiomancer
anthracomancydivination by inspection of burning coals; from Greek anthrax, meaning ‘live coal’; potentially a useful word in combination with ‘pyromancy’anthracomancer
arithmancydivination by numbers; from Greek arithmos, meaning ‘number’arithmancer
catoptromancydivination by means of a mirror; this is quite a good one; from Greek katoptron, meaning ‘mirror’catoptromancer
psephomancydivination by means of pebbles; from Greek psephos, meaning ‘pebble’psephomancer
tephromancydivination by means of ashes (from a sacrifice); from Greek tephra, meaning ‘ashes’tephromancer
ornithomancydivination by means of birds; from Greek ornis, meaning ‘bird’ornithomancer
pegomancydivination by fountains; from Greek pege, meaning ‘fountain’, ‘spring’pegomancer
pyromancydivination by means of fire; from Greek pyr, meaning ‘fire’; also just a general word for ‘fire magic’pyromancer
cubomancydivination by throwing dice; from Greek kybos, meaning ‘die’cubomancer
ceromancydivination by inspection of melted wax; from Greek keros, meaning ‘beeswax’ceromancer
psychomancydivination by consultation with souls of the deceased; from Greek psykhe, meaning ‘soul’, ‘mind’; could just be used to refer generally to psychic powerspsychomancer
necromancydivination by communication with the dead; from Greek nekros, meaning ‘dead body’; has the more general meaning of ‘black magic’, and is often used to mean ‘magic involving dead bodies’necromancer
xylomancydivination by means of wood; from Greek xylon, meaning ‘wood’, ‘timber’xylomancer
onomancydivination from the letters of a name; from Greek onoma, meaning ‘name’onomancer
phyllomancydivination by means of leaves; from Greek phullon, meaning ‘leaf’phyllomancer
hydromancy divination by the appearance or motion of liquids; from Greek hydor, meaning ‘water’; could just be used as a general term for ‘water-magic’ (such as water-bending in Avatar)hydromancer
aeromancy divination by means of air; from Greek aer, meaning ‘air’; could just be used as a general term for ‘air-magic’ (such as air-bending in Avatar)aeromancer
lithomancy divination by stones; from Greek lithos, meaning ‘stone’; can be used for ‘stone-magic’lithomancer
chronomancy divination to determine the favourable time for an action; from Greek khronos, meaning ‘time’; could just be used for ‘time-magic’chronomancer

There are a few others that I found, but they were less interesting. As you can see, there’s a lot of them – you could use them in some quite interesting ways in fantasy stories.

The table below gives some words ending in ‘-mancy’ that I’ve made up with my limited knowledge of Classical Greek. (I haven’t checked if anyone else has made these up too – it’s quite possible.)

WordMeaning and EtymologyAgent Noun
electromancydivination by means of amber; divination by means of electricity; electricity-magic; from Greek elektron, meaning ‘amber’electromancer
chromomancydivination by means of colour; colour-magic; from Greek khroma, meaning ‘colour’chromomancer
heliomancydivination by means of the Sun; Sun-magic; from Greek helios, meaning ‘the Sun’heliomancer
logomancyword-magic; speech-magic; perhaps a term for any magic that involves incantations; from Greek logos, meaning ‘word’, ‘speech’logomancer
anthomancyflower-magic; from Greek anthos, meaning ‘flower’anthomancer
selenomancydivination by means of the Moon; from Greek selene, meaning ‘the Moon’selenomancer

As is usual with these posts, I may add more words over time.

Kenobi – Episode 2 – A Complete Disaster

This review is only going to be about the first fifteen minutes or so of the episode, because that’s all I could stomach watching. I couldn’t watch any more – it was that bad. It’s rare that I can’t finish watching an episode of a television show if I intend to review it, but this episode was so bad it was repulsive.

Let’s dissect this episode moment-by-moment.

Kenobi lands on a city-planet called Daiyu. It’s like Coruscant, but not. As soon as Kenobi comes out of the spaceport terminal, he looks around at the busy environment as though slightly scared of it all. Already, this is bollocks. Obi-wan Kenobi has been in environments like this for most of his life. He’s spent a huge amount of time on Coruscant; he’s been all over the galaxy as a Jedi Knight, to countless different planets with different peoples, cultures, and technologies. He would not be scared of a busy street. ‘But he’s been living in isolation on Tatooine for ten years! He’s changed!!!’, I hear the Twitterati scream. No. When you’ve had that much experience of all these kinds of places, ten years on Tatooine is not enough to make you scared of it all again. What is this bizarre obsession with diminished characters that Hollywood and idiots on Twitter have nowadays? They relish in the idea of making great characters shit. It’s grotesque. Kenobi is a Jedi Master – he didn’t stop being that just because the Jedi Order was disbanded. He should still be an extremely powerful Jedi. He does not have this timidness at the end of Revenge Of The Sith; he doesn’t have it at the start of A New Hope. This is bollocks.

Kenobi goes and asks a random person about a ship he’s tracking. Why? Why does he go and ask this person? It isn’t apparent. And then we get some more insanely expository dialogue – the person replies ‘You’re in Daiyu now. All signals in or out are blocked. People like their secrets out here.’. This is just pathetic. A real person, in this setting, would not talk like this. This line reeks of the writers wanting to say something to the audience, but not having the talent to do it in a naturalistic way. The line is also performed in a way that only Hollywood actors can do – as though this one line is going to be their big break into television, if only they can perform it with enough over-the-top American brashness.

We see a lingering shot of a street on this planet. It lingers too long, suggesting that this street is somehow central or important – it’s one fucking street on a city planet – this street is not important. We see Kenobi wandering down the street, looking at the others on it. The framing of the shot and the primary-school-level acting of the other actors make you painfully aware that this is just a set (somewhere in Los Angeles, I assume). It’s a caricature of a ‘bustling street’ – makes you wonder if the writers and directors have ever even been down a busy street. (Perhaps this is enduring effects of America’s car-centric, non-walkable cities.) Kenobi just wanders around – you’d have no idea he was on a time-critical mission at all.

There’s a homeless clone army veteran at the side of the street. This allegory isn’t just on-the-nose – it’s kicking me in the head, I collapse, unconscious, and then it’s kicking me on the ground out of baseless spite.

A lot of people nowadays accuse television shows of being ‘political’. Now, this isn’t really a correct use of the word ‘political’, which ought to mean ‘having to do with polity’, where ‘polity’ means ‘the organisation and governance of human society’. This is a television show – it has nothing to do with organising society. But I know what these people mean – the term their looking for is ‘social commentary’. This is social commentary – it’s making a comment about society.

Now, I’ve written many allegorical stories in my life. In some of them the allegory is very obvious – deliberately so – and in others it’s a bit more obscure – also deliberately so. Now I would hope that my stories have never come across as preachy or patronising. (I would like to think that I could tell if that were the case, and edit that tone out, but it might be that when one is writing an allegorical story, one just can’t tell if it’s going to come across that way.) Because it is bad when stories or story elements come across as preachy. I think it’s particularly bad when the message is something that’s so obviously true (yes, it’s bad that there are so many homeless people – this isn’t a revolutionary thought), and when so little effort is put into the metaphor (I mean, here, they just have a homeless veteran in the street – that’s it – that’s the extent of the allegory – put some fucking effort in). It comes across as someone thinking they’re a genius for coming up with something everyone already knows and putting in very little thought or effort.

I think it’s fine for stories to have social commentary in them, but if it comes across as preachy, it completely pulls you out of the story, and you realise you’re just hearing the opinions of the writers. And I think in order to not be preachy, it’s got to be more deftly done than this.

We are 1:30 into the episode, and there has already been THIS much wrong with it.

Some Stormtroopers walk along the street saying ‘Clear a path.’. Why?

Then we get an absolutely disgusting scene. A random person comes up to Kenobi and says ‘You wan’t some spice, old man?’. This is very obviously a reference to the ‘deathsticks’ scene in Attack Of The Clones, but this time, rather than Kenobi instantly telling this person to go away and rethink their life, this person just gives him one of the substances she’s selling – Kenobi doesn’t even agree to take it – she just puts it in his pocket.

The sheer arrogance of the writers to do this. Apparently they were so insulted by a scene in the prequels telling a drug dealer to maybe stop selling that shit (I would guess because some of these writers are obsessed with consuming a particular intoxicant themselves), that they wanted to put in a new scene where instead Kenobi is just given some of this shit – doesn’t even get a choice. I have had the misfortune to meet a lot of very arrogant people in my life – I have never seen arrogance like this. It’s pathetic, disgusting, and grotesque. To be so self-obsessed, smug, and self-righteous that when given the opportunity to write a sequel to another writer’s work, all they can do is think about how they can undermine and displace what that writer did, to put their own vapid, self-centred, immoral worldview into every corner of it. There are few things in this world that I have been more revolted by.

We are then introduced to a fake Jedi who is some kind of people-trafficker. This allegory is harder to not notice than a used dildo in a public library. This scene tries to be funny, but it’s a style of humour that is very un-Star-Wars.

Kenobi then goes through some kind of drugs factory – again, this allegory is harder to not notice than a condom in a bride’s hair. This scene looks more like something out of a contemporary Marvel action show than something out of Star Wars.

Kenobi then finds his way further into the building / complex. It’s not really very clear where he is (other than a film studio somewhere in California). It’s a bit weird that the first street he tried on this city planet just happens to be the one with the building where Leia’s being kept, but that’s what happens when the writers are thinking more about shoving a message down the viewers’ throats than worldbuilding.

Kenobi is immediately found by some goons. They fight. We see that Kenobi has gotten a bit out-of-practice. Again, what the fuck is this obsession with diminishing characters?! This guy is a very skilled Jedi Master – taking on two goons should be piss-easy, even after ten years. Why? Because this guy is an incredibly skilled force user, and that doesn’t diminish with age (see Yoda). Bizarrely, Kenobi doesn’t use the Force or his lightsaber at any point in this fight, despite both being available.

There’s another fight. Kenobi continues not to use the Force or his lightsaber, for no good reason. Another goon comes in; there’s some pointless dialogue. Then the goon says ‘You’re not a Jedi anymore, Kenobi.’, and here once again we are hearing the voice of the writers, not the characters. The writers are thinking about Kenobi as ‘no longer being a Jedi’ – that thought was in their head when they were writing this show. But this just shows how utterly misguided they are. You don’t stop being a Jedi just because the Jedi Order has been disbanded. That would be like saying you stop being a Christian if the Vatican shut. Jediism is a way of life, and a belief system. As long as you continue to live the Jedi way of life, or continue believing in its tenets, you are still a Jedi.

We see a bit more of the Inquisitor – not the main one – the other one – Reva, I think she’s called? This actress has absolutely no ability to come across as menacing or threatening whatsoever. (And this time it can’t be put down to bad writing – she has some very short, simple lines, that should be easy to deliver well, but they are weak and ineffectual. This is what happens when your understanding of evil is merely a caricature of evil.)

Kenobi finds Leia, and once they’re out in the street again, Leia says ‘You seem kinda old and beat up.’ – once again, this is just the thoughts of the writers. This is such basic shit – I don’t think I have ever seen such bad writing in a television show. (I might even include the ending to Game of Thrones in that.)

The inquisitors talk to each other for a bit – the main one and Reva, with a few throw-away lines from the others. The whole thing comes across like an annual review in a big corporation, not like two dark side users talking to each other – it’s quite comical. The main inquisitor guy tells Reva that she’s the ‘least of us’ because she ‘came from the gutter’ – for fuck’s sake – when have force users ever cared about class? Dark side users care about one thing: the accumulation of power for its own sake. Your status is determined by your power, not your class. They don’t give a shit about where you came from.

The main inquisitor guy then puts Reva on leave, promising that HR will speak to her later.

And that’s it. That’s the first fifteen minutes. I couldn’t watch any more, and won’t. I mean, bloody hell, almost every frame of those fifteen minutes had an issue. It’s so bad it’s almost nauseating – I feel like throwing up.

This show is quite possibly the worst television I have ever seen, and I will not be watching any more of it. This isn’t Star Wars, or even remotely connected to it. This is artistic defilement.

Star Wars: Episode I – The Phantom Menace – Review

One of the things that I like to do over Yule is watch films. I find it’s essential for making it seem like Yule. And I don’t watch films in the way that I usually do either – usually I do something else at the same time while watching a film, but over Yule I like to sit and watch films, and focus on them completely. That’s a much more relaxing way to watch a film, and relaxation is an essential part of Yule.

This year I decided that I would rewatch the six Star Wars films over Yule. I’ve been rewatching one a day – I’m now half-way through. This is actually the first time that I’ve gone back and rewatched the Star Wars films since the Disney films came out.

The three Disney films that were meant to follow on from Return of the Jedi – The Force Awakens, The Last Jedi, and The Rise of Skywalker – were shit. The Last Jedi is one of the worst films I’ve ever seen, and The Rise of Skywalker was about as bad. Before watching The Last Jedi, I didn’t realise that it was even possible for one film to destroy an entire series of films, but that’s what it did. (Incidentally, since that film came out, we’ve seen this sort of thing happen (at least) two more times with other sci. fi. and fantasy titans – Game of Thrones was completely annihilated by its final series (no-one talks about Game of Thrones anymore – that’s the extent to which that franchise was destroyed), and the most recent series of Doctor Who tried to retcon its entire history.) After seeing The Last Jedi, my interest in Star Wars completely dissipated. I only went to see The Rise of Skywalker out of a sense of morbid fascination – I wanted to watch the franchise completely collapse as a result of the stupid decisions that had been made. I did not see the Han Solo film; I have not watched any of The Mandalorian. The only thing that could bring my back to the franchise is if Disney were to officially announce that their sequel films are not canon, and will have no bearing on things they make in future.

However, now that there is some distance between the Disney films and the six Star Wars films, I find I can go back and watch them, and still enjoy them.

This time, I have started with Episode I. There is much debate as to the best order to watch the films in – I tend to vary it, sometimes starting with I, sometimes starting with IV. This time I have started with the prequels.

Now, there are some people who absolutely despise the prequel trilogy. I myself have always liked them. I am aware of their many flaws, of course – I do not pretend that they are perfect – but they do have many good aspects to them. For the entire time that I’ve heard people complain about the prequel films, however, I have found their complaints to be disproportionate. They seem to focus on aspects of the film that are highly inconsequential, and take up only a few seconds of screen-time – like the odd bad line. And this focus seems to be at the expense of the many excellent aspects of these films.

Coming back to these films after having now seen the Disney films, I am now struck even more how out-of-proportion some of the complaints about the prequel films are. Many of the people who abhor the prequels adore the Disney films – the number of people who I see claiming that The Last Jedi is a perfect film – not just good, but perfect – is astonishing.

So, I’ve decided that as I rewatch each of the Star Wars films, I’m going to write reviews of them. I don’t intend for these reviews to be exhaustive – I’m not going to go through every aspect of each film and analyse it. The aim is just to point out the main flaws in each film, and just how many good things each film has in it.

So, Episode I – The Phantom Menace. Let’s get the bad stuff out of the way.

One of the problems with this film is that many of the scenes are ‘incomplete’. Actually a better way of describing this is that in many parts of the film (many, but not all), there simply are no ‘scenes’. Many times the film cuts to one set of characters, in one location, who will say only one or two lines, and then it cuts to a different set of characters, in a different location, who will again only say one or two lines, and then it will cut again. There is no ‘scene’ – it’s just clips. It’s enough to understand the events of the story, but no more. This makes the film seem more like a synopsis than a story – just a list of things that happen and in what order. This is a problem that all three prequels have, and is probably a result of George Lucas focusing a little too much on the overall plan for the prequels. (That focus has paid off in other aspects of the films, however – the overall structure of the prequels (as a set of three films) is excellent.)

A related problem to this is that there are many missing reaction shots. It is often said that all good acting is reacting. One reaction we don’t get is Anakin’s reaction to learning that Qui-gon Jinn has died. This, I would think, is quite an important reaction. Qui-gon is the first Jedi that Anakin met, and the person who got him freed from slavery. Anakin expected Qui-gon to be his teacher, and Qui-gon would probably have been a better teacher for Anakin than Obi-wan. Anakin found Obi-wan frustrating – he thought he was overly critical and didn’t listen to his ideas. Qui-gon’s more laid-back style of instruction would probably have complemented Anakin’s over-confidence well. (Indeed, one could argue that Qui-gon was meant to find and teach Anakin, and if he had, Anakin might not have fallen to the dark side – making Qui-gon’s death a crucial moment in the series.) However, as an author, I have the luxury of being able to put whatever I want in my stories. Qui-gon’s death is quite late in the film, putting Anakin’s reaction in there might have made the pacing of the ending of the film a bit odd, which is why we only get Obi-wan’s reaction, which does not require a separate scene.

Another problem that Episode I has is that it doesn’t really have a main character. Many people might say that Anakin is the main character, but Anakin doesn’t appear for quite a while in the film – not until they go to Tatooine. Also, Anakin is only tangentially involved in the ending of the film. He does blow up the droid command ship, but he does this by accident – it’s not something he intends to do, and it is not a particularly important moment for Anakin. Qui-gon and Obi-wan are main characters, but neither is the main character. The same is true for Padmé. This is unlike the original trilogy, where even though Leia, Han, Obi-wan, Yoda, et alii, are all main characters, Luke is the main character.

Related to this is that we don’t really get a strong sense of what the characters personally want. We know that Qui-gon and Obi-wan are trying to fight back against the Trade Federation, but they are doing this because they have been told to by the Jedi Council, not because they personally want to. (That’s not to say that they don’t want to do it – it’s just that their main reason for doing it is shown to be because they are told to by the Council, rather than personal motivation.) This is one of the difficulties in writing about Jedi – especially ones that are part of a Jedi Order at its height. Jedi are supposed to be detached. They are not supposed to fiercely want to fight – they are not supposed to fear losing the fight. Their personal motivation isn’t supposed to come into it.

However, this problem of not having a clear sense of what characters want extends beyond Qui-gon and Obi-wan. It’s true of Padmé too. We know that she does want to fight back against the Trade Federation, but this comes across in the film as not much more than the duty of the monarch. We needed a stronger sense earlier on in the film that the Trade Federation is a great threat to Naboo, and that Padmé knows this, and resolves to fight back against it. (A lot of this stuff is just covered by throw-away dialogue in the film – it needs to be more than that.)

And it’s also true of Anakin. Anakin almost has the opposite problem, in that he wants too many things. He wants to do pod-racing, and he wants to win in the pod-race that Qui-gon enters him for in particular. He wants to travel the galaxy; he wants to become a Jedi; he wants to free the slaves. The focus for this film should have been on getting off Tatooine, and becoming a Jedi so that he can free his mother. That needed to be established earlier and more strongly, and then we would have understood why Anakin was doing anything he was doing.

So there are flaws with the film. The ones I’ve mentioned are not structural in the sense of the events that happen, but they are structural in the sense of what we know of the characters, when we know it, and whether it affects the subsequent events of the story.

One of the things that people often complain about with this film is the dialogue. A lot of people complain that the dialogue is wooden. They often focus on Jake Lloyd, who played Anakin, and complain that many of his lines weren’t delivered well. Personally, when it comes to very young actors, I always give them a pass. Jake Lloyd was about 9 or 10 years old when he played Anakin – it’s extremely unusual to find people of that age who are great at acting. (I’ve only ever seen one, and that’s Iain Armitage, who plays Sheldon Cooper in Young Sheldon – and he is such a good actor at such a young age that it’s actually quite unnerving.) As a society we should generally expect that if we put nine-year-olds in films, that there is a limit to what they’re going to be able to do, and that’s fine.

I will also say, though, that many of the odd lines that Anakin says in this film are due, I think, to the writing and the direction. For some of Anakin’s odd lines, it’s very obvious that what was written in the script was odd, and that Jake Lloyd was just doing it as written (which is what we should expect from a nine-year-old – I don’t think we expect them to improvise). Twice in the film Anakin says ‘Yipeee!’ – now, I don’t think I’ve ever heard anyone ever actually say that in real life – people don’t say that in real life. That’s why it comes across as an odd line – it’s very unrealistic. But I suspect that was just what was written in the script, and Jake Lloyd just read it out.

For Anakin’s lines, George Lucas seems to veer between lines that are clichés of what children say, and lines that only older people would say. This is a problem that a lot of writers have – they forget how children talk. So I think some of these odd lines are due to George Lucas not having a strong sense of how people of different ages talk (which is a problem, I think, that film directors tend to have more often than novelists, because film directors tend to think more about camera shots and the composition of scenes, rather than words and styles of language).

Many of Padmé’s lines are often called wooden too. I think this is primarily a direction problem. It’s apparent that, when Padmé is speaking as a queen, Lucas wanted her to come across as forceful and somewhat remote. This works well in some scenes, but not others. I think in some of the scenes, Natalie Portman should have been directed to do the performance more casually. (Indeed, she may have done some takes like this, but these were not the ones that were chosen in the edit.)

More importantly, though, the bad lines in the film are few in number, and take up a very small amount of screen-time – the complaints about them are very disproportionate. Furthermore, while Jake Lloyd does do some lines not so well, he does do plenty of lines very well, and I think this is often overlooked.

Oh – I might as well get the Jar Jar stuff out of the way. A lot of people complain about Jar Jar – I have never understood this. I find Jar Jar a completely ignorable character – my focus is never on Jar Jar when I watch this film.

Something else people complain about is the pod-racing. A lot of people seem to just wish it weren’t in the film. The existence of pod-racing is, I think, very good world-building. We were introduced to speeders in the originals – speeders, of course, have some kind of anti-gravity mechanism in them, as they float off the ground. (Anti-gravity technology must be very cheap in the Star Wars universe.) Pod-racing is just what you get in answer to the question ‘What if we add some jet engines to a speeder?’. You would end up with something that could move extremely fast, because only air resistance is slowing it down, and that would naturally become a sport. This is good world-building – figuring out what the consequences of different kinds of technology are. If both anti-gravity speeders and jet engines exist in a universe, then pod-racing exists in that universe. And besides, is pod-racing really worse than all that stuff on Canto Bight in The Last Jedi? Absolutely not.

That’s some of the bad stuff; now for some of the good stuff. On the subject of world-building, this film is a masterpiece of world-building. There is more great world-building in the first ten minutes of this film than in everything produced by Disney since they bought the franchise.

We get several new species: the Neimoidians (the species that seem to run the Trade Federation), the Gungans, the Dug (Sebulba’s species), the Toydarians (Watto’s species), the Cereans (Ki-Adi-Mundi’s species), the Zabrak (Darth Maul’s species), and what seems like hundreds more. And what’s more, characters of these species aren’t just standing in the background, as is often the case in the Disney films – the characters of these species in the prequel films actually have lines.

The Gungans get even more world-building. The Gungan cities are completely unlike anything we’ve seen in Star Wars before, with a unique and distinctive style of architecture. The Gungans also have a distinctive military, and technology which is unlike what other species and factions in Star Wars use.

The planet of Naboo gets a lot of world-building overall. The fact that the planet has no solid core, and is just water all the way down, is something we’ve not seen before in this series. The Nabooians also have a distinctive culture and their cities have a distinctive architecture.

In fact many planets get a lot of world-building in this film. Tatooine becomes more than just a moisture farm and Mos Eisley, with Mos Espa and its grand pod-racing arena. We get the entire planet of Coruscant – a planet that’s one giant city – Coruscant alone is more than we got from all of the Disney films. Coruscant has the senate building and the Jedi Temple, both of which have unique designs. In the Disney films, the most we see of anything like Coruscant is a few seconds of Hosnian Prime before it’s blown up.

We get new, and distinctive, ship designs, with the Nubian starships and Trade Federation’s control ships – both unlike anything we’ve seen so far in Star Wars. We even got new droid aesthetics – most of the droids in this film, and all of the adjacent technology that they use, are completely different to what we saw in the originals. The battle droids have a design that shows they were intended for mass production – they appear to be made of something like plastic – something that is cheap – because all these droids have to do is carry a weapon. They don’t have to last; they don’t have to endure; they just have to fight, and then be disposed of.

And the Jedi themselves have had a lot of development. We get a Jedi Order at its height, with Yoda as grandmaster of the Jedi Council. We get Mace Windu – a fan favourite. We get the very concept of padawans. We get the Jedi clothing and customs.

Some people don’t think that world-building is important, but it’s incredibly important. A rich, highly-developed, convincing world is essential for something to be immersive. When I watch a film, I want to be transported to another world, and I want to be convinced that it could be real. World-building is essential for that. The real world is complex and detailed. For a fictional world to be believable, it must be complex and detailed too.

But if you wanted a more simplistic argument for the importance of world-building, notice that it is the stories and franchises with the best world-building that have the strongest fanbases. Notice how there are entire YouTube channels dedicated to the worlds of The Lord of the Rings, Harry Potter, Game of Thrones, Star Wars, and Star Trek. These channels don’t just focus on the characters – they are able to make entire videos about seemingly minor aspects of these worlds, and people are interested in them. World-building matters.

We get some fantastic music in this film – most notably Duel of the Fates. Duel of the Fates alone makes the prequels far better than the Disney films. We also get some great actors in this film, and some excellent performances. Liam Neeson is outstanding as Qui-gon Jinn; Ewan McGregor is fantastic as Obi-wan Kenobi (though he doesn’t get too much to do); Samuel L. Jackson is outstanding as Mace Windu (although he didn’t get much to do either); Ray Park was brilliant as Darth Maul; and of course, Ian McDiarmid was sublime as Palpatine. There are even some minor characters who I think were done very well. Brian Blessed is perfect as Boss Nass, and I think Pernilla August plays Shmi Skywalker very well.

This film also sets up the trilogy, and the hexalogy, very well. Anakin is shown to be headstrong, and over-confident. He believes he can win the pod-race, despite never completing a race before. He deliberately stays in the Naboo starfighter, knowing that he can join in the fight while also technically following Qui-gon’s instructions. He also has a determination to change the world around him – he talks about dreaming of freeing the slaves – he wants to change the way the world works. And he also has a strong attachment to his mother. These traits all lead to his downfall.

This film also sets up Anakin’s interaction with the Jedi Order. When he first meets the Council to be tested, he finds them hostile, and he finds their questions to be irrelevant. Later, he is told by the Council that he will not be trained as a Jedi. This immediately sets up the Council as being an obstacle to Anakin – something that connects to Episode III, where he believes that the Council does not trust him, and wants to hold him back. He sees the Council as something that will prevent him from doing what he wants to do.

As I’ve said, this episode also shows how it might have been better if Qui-gon had been Anakin’s mentor. Obi-wan only just becomes a Jedi Knight at the end of the film, and as Qui-gon says, Obi-wan still has much to learn of the living force, and it’s Qui-gon’s understanding of the living force that gives him his laid-back way of doing things, which is probably what Anakin needed in a mentor. So this film sets up very well this idea of how even though Anakin was the chosen one, who would destroy the Sith, if the Jedi didn’t do it right – if they didn’t have the right person training him – then Anakin might not destroy the Sith in the way they expected. This is why Yoda says that Anakin’s future is clouded – it’s clouded partly because it’s dependent on whether Qui-gon lives or dies.

So those are some thoughts on this film. It has its problems, but it has an extraordinary number of great aspects to it – far more than all of the Disney films combined. As I said, this review isn’t exhaustive – there are many things that I’ve left out (which I might return to later). I think that all of the prequels might actually have been better as a television series, rather than films. There are many reactions and scenes that it would have been good to see in the films, and if all of them had been put it, they would probably have been too long as films. I’m not keen on the big time jump between episodes I and II, but that was necessary to fit everything into three films. But on the other hand, the idea of long-form television series’ with film-quality effects is something that didn’t really exist in the late 1990s and early 2000s – that’s a trend that’s appeared later as special effects have become easier and cheaper to do. It’s only nowadays that the boundary between film and television has ceased to exist. So I think these stories would only ever have been films.