Which makes Star Wars: Visions works so well in the first place, it is his almost incessant desire for flair and the flash is always accompanied by a narration animated by the fundamental themes that have defined Star wars for generations. One of the most dazzling of the nine animated shorts in the series understands this perfectly, with a reminder of one of the most important lessons of the Skywalker saga.
“The Twins” —produced by Studio Trigger and directed by Kill the kill and Promareby Hiroyuki Imaishi-is definitely one of the short films that pushes the boundaries of what Star wars fans might consider “logical” about a franchise. A franchise, let’s remember, in which former wizards throw light sticks at each other and a new planet killer appears every Tuesday. If Darth Vader’s child hoisting himself inside a ship from the void of space was enough to spark heated debate for months on end, wasn’t it pointed out that Visions is only adjacent to Star wars canonicity, the brotherly showdown between Karre (Junya Enoki / Neil Patrick Harris) and Am (Ryoko Shiraishi / Alison Brie), may have made a few heads explode.
The Star Destroyers are glued to the other Star Destroyers, the space vacuum that made people are mad at Leia Organa is treated here as if it does not exist. Ships are smashed to be perfectly fine, armor explodes and pushes weapons in a way that would make even General Grievous blush. Speaking of The Last Jedi and the fan controversy is “Holdo Maneuver ” echoes here (one of many echoes), but this time instead of a woman against a fleet it’s a boy, sword raised as he stands a top an X-Wing going at the speed of light, to carve a notch in time, space and even part of its sister. Suffice to say that it’s an absurd, kinetic and dazzling riff on Star wars, visually speaking.
It’s completely gorgeous, a little silly, but self-aware enough to know all of this in the first place because it’s all good Star wars should, next to these sharp echoes to his past. There is always another Empire and another Republic, there is always another world-ender. There is always important siblings. Light and dark. And lightsabers, even if the lightsabers here turn into whips and lying on the spot like Lumiya very suddenly came back in fashion. But it is the heightened surreality of the “Twins” visuals that serves to more clearly highlight the thematic current underlying these visuals: a lesson that Star wars has turned over and over again, but the one that was at the heart of his sequel trilogy.
At the start of “The Twins,” we are told that Karre and Am are twins from the dark side: whatever version of some sort of evil empire they find themselves on in its nebulous time frame, versus n ‘ no matter what republic they are the product of dark side cultists raise a dyad to them, warriors whose sole purpose is to rule the galaxy through fear and power as siblings. That is, until the day before their planet killer’s test – this time taking a page of The Rise of Skywalkervisual manual of, slapping a Death Star laser as a junction box between of them Star Destroyers — and Karre just decides he’s had enough of this endless cycle of the race for power. Grabbing the giant kyber crystal powering the Gemini Star Destroyer’s superlaser, Karre heads for a rushed exit, but not before her sister, fully engaged in her fate as a dark side ship, does everything to stop him.
In the midst of their eventful battle against the Star Destroyers themselves, it’s clearer that one of the reasons Karre turned his back on the Empire was a vision he had through the Force. Although he doesn’t have his sister’s raw power and asks for more, his symbiotic relationship with her gave him a vision of his brother’s fate that he couldn’t shake. Time after time, he asks her, as things get more and more dangerous, to come with him – not necessarily to get away from the Empire because what he’s doing is wrong, or even because of his. vision of his death. Instead, it’s out of love. Karre wants Am to seize the opportunity he has: break free from the lineage they came from, take charge of their future. There is no need for control and order in their hands if they can be free – if the whole galaxy can be free – to decide who they are for themselves.
Star wars and fate go hand in hand, and always have; from Luke’s battle with his father, to the prophecy of the chosen one, to the revelation of Rey’s own lineage in The Rise of Skywalker. Fates, by blood and name, pulsate throughout his heart, for better or for worse, placing the stakes of a galaxy far, far away in the hands of a few chosen ones. But as important as this idea is To Star wars– and the reason why “The Twins” himself uses it in the first place – the rebuttal of this prescribed power is just as important. Innumerable Star wars heroes become heroes out of nowhere, seen as nothing or unimportant in the grand scheme of bloodlines like the Skywalkers and Palpatines, only to help save the galaxy over and over again. In The Last Jedi, Kylo Ren’s poisonous revelation to Rey that she’s meant to be “nothing” is what sets her free when he can’t – already desperately lashing out at restrictions on own inheritance as the son of Han Solo and Leia Organa. When it is revealed in The Rise of Skywalker being a lie and that she is, in fact, a Palpatine, her greatest victory is to refute what fate is meant to mean to her. Instead, she creates her own, taking the name Skywalker – not because she’s of her blood or because she’s meant to be, but because that’s what. she wants to do for herself.
The story of Karre and Am playing with this idea from the adjacent perspective of not two Predestined heroes, but Predestined villains, is a fun twist in itself. But let him do it to challenge the idea of fate once again – to remind us that power does not come from armor, crystals, super lasers or fate, but by taking possession of your your own identity and your self in a wide and vast world – arguably makes it more true to Star wars that its hyperactive and technicolor action would not let it appear at first glance.
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