previous page
TOC
TV/Streaming
Desirable Mutations How the creators of Star Wars: The Bad Batch expanded the ever-popular franchise in a fascinating new direction. By Tom McLean
I
f you needed proof that the galaxy far, far away is a fully yielded universe capable of delivering a seemingly endless variety of exciting tales, then look no further than Star Wars: The Bad Batch, the new animated successor series to Star Wars: The Clone Wars now streaming on Disney+. Created and executive produced by Star Wars animation guru Dave Filoni, Star Wars: The Bad Batch starts after the end of The Clone Wars series, during the events of the 2005’s Star Wars: Episode III — Revenge of the Sith. Emperor Palpatine has seized total control of the Republic and issued Order 66, prompting the vast clone army to turn against and execute their Jedi allies. But the elite members of Clone Force 99, nicknamed “The Bad Batch,” are unaffected — the genetic modifications that gave Hunter, Wrecker, Tech, Crosshair and Echo heightened talents also make them immune to Order 66. Their loyalties to the Republic intact, they’re forced to rebel against the Empire and go their own way as a group — one that now includes another altered clone, a sharp but shel-
tered girl from Kamino named Omega, voiced by Michelle Ang.
Turbulent Days
That approach extended to the character designs, with the clone troopers in particular having their individuality diminished.
Executive producer and head writer Jennifer Corbett says the show reflects that evolution in all aspects of storytelling. “It’s the very early stages of the Empire,” she says. “There are some systems and some planets that are happy that the Empire ended the war and are just glad that there’s peace after so many years of fighting. And then there are some insurgents that are unhappy about Emperor Palpatine having all this power and having this clone army at his disposal. So there’s just kind of a lot of turmoil going on.” While the show’s visuals are clearly inspired by The Clone Wars, they also reflect the shift in premise to the Empire era of Star Wars, says Brad Rau, executive producer and supervising director. “You take a Republic tank, for example, that you think: ‘Oh, this is the good guys’ tank! Cool!’ And suddenly you give it this Imperial wash of color, it takes on a whole different aspect,” Rau says.
www.animationmagazine.net 44 june|julyy 21
TOC
previous page
