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The History of Space Opera

Lost (and found) Star Wars stories

Articles, columns and quotes in defense of the Star Wars Expanded Universe!


The goal of the all-volunteer, non-profit Twin Suns Foundation is to promote reading and writing around the world, and serve as the voice for the Star Wars Expanded Universe Movement! Fundraisers, book donations, billboards, check 'em all out today!

Eddie Van Der Heidjen's amazingly exhaustive page!


Robert Mullin's wildly unique chronology project attempts to fuse the EU canon with Disney's.


Jedi Sabacc


Long forgotten, un-reprinted Star Wars adventures and nonfiction literature

TBone's famous Star Wars site include cut-scenes, scripts, and so much more!


Plif lives with Marvel Star Wars stats and loads of fun pages!


Fascinating study of the changes made to the original trilogy


This site's original pre-Filoni Clone Wars Timeline

The Clone Wars Viewing Order


Another chronology of the Clone Wars incorporates older stories in relation to the animated series


Everything you always wanted to know about the Star Wars Holiday Special!


Interviews with George Lucas


SAN RAFAEL, Calif. - George Lucas never figured on a 30-year career as a space pilot. Once "Star Wars" shot into hyperspace, though, he found it hard to come back down to Earth.

AP Photo


Making its DVD debut Tuesday, Lucas' original sci-fi trilogy — "Star Wars," "The Empire Strikes Back" and "Return of the Jedi" — began as an experimental foray into old-time studio moviemaking for Lucas, whose first two films had been far removed from usual Hollywood sensibilities.


Lucas' sci-fi satire "THX 1138" had been a commercial dud, but the energetic "American Graffiti" with its driving soundtrack and multi-character point of view scored with audiences, giving the director clout to try something bigger that had been on his mind.


"I'd already started this other idea, which was to do a kind of a classic action adventure film using sets," Lucas said over lunch at his 2,600-acre Skywalker Ranch. "I'd never worked on a set, I'd never worked at a studio. Never made a traditional movie. So I said, `I'm going to do this once, just to see what it's like, what it's like to actually design everything, work on a soundstage, do an old-fashioned 1930s movie.

"And I'll do it in that mode from the 1930s Saturday matinee serials, using kind of 1930s and '40s sensibilities, and I'll base it on sort of mythological motifs and icons. I'll just put it together in a modern form, and I'll have fun. That's how I got into that. I did it because it was an interesting move into an area that I thought I'd never go into."

Three decades later, Lucas is preparing to launch the last of his six "Star Wars" films. Next summer brings "Star Wars: Episode III — Revenge of the Sith," completing the prequel trilogy that tells the story of young Anakin Skywalker's metamorphosis into the villainous Darth Vader of the original three films.

Fans have eagerly awaited the first three "Star Wars" films on DVD, a release Lucas initially intended to delay until he finished "Episode III."

Some will be miffed that the original theatrical versions are not included in the "Star Wars" boxed set, which features only the special-edition versions Lucas issued in the late 1990s, with added effects and footage, including a scene between Harrison Ford (news)'s Han Solo and crime lord Jabba the Hutt in the first "Star Wars."

AP: Why did you change your mind and decide to put the original three movies out on DVD now?

Lucas: Just because the market has shifted so dramatically. A lot of people are getting very worried about piracy. That has really eaten dramatically into the sales. It really just came down to, there may not be a market when I wanted to bring it out, which was like, three years from now. So rather than just sit by and watch the whole thing fall apart, better to bring it out early and get it over with.

AP: Why did you rework the original trilogy into the special-edition versions in the late 1990s?

Lucas: To me, the special edition ones are the films I wanted to make. Anybody that makes films knows the film is never finished. It's abandoned or it's ripped out of your hands, and it's thrown into the marketplace, never finished. It's a very rare experience where you find a filmmaker who says, "That's exactly what I wanted. I got everything I needed. I made it just perfect. I'm going to put it out there." And even most artists, most painters, even composers would want to come back and redo their work now. They've got a new perspective on it, they've got more resources, they have better technology, and they can fix or finish the things that were never done. ... I wanted to actually finish the film the way it was meant to be when I was originally doing it. At the beginning, people went, "Don't you like it?" I said, "Well, the film only came out to be 25 or 30 percent of what I wanted it to be." They said, "What are you talking about?" So finally, I stopped saying that, but if you read any interviews for about an eight- or nine-year period there, it was all about how disappointed I was and how unhappy I was and what a dismal experience it was. You know, it's too bad you need to get kind of half a job done and never get to finish it. So this was my chance to finish it.

AP: Why not release both the originals and special editions on DVD?

Lucas: The special edition, that's the one I wanted out there. The other movie, it's on VHS, if anybody wants it. ... I'm not going to spend the, we're talking millions of dollars here, the money and the time to refurbish that, because to me, it doesn't really exist anymore. It's like this is the movie I wanted it to be, and I'm sorry you saw half a completed film and fell in love with it. But I want it to be the way I want it to be. I'm the one who has to take responsibility for it. I'm the one who has to have everybody throw rocks at me all the time, so at least if they're going to throw rocks at me, they're going to throw rocks at me for something I love rather than something I think is not very good, or at least something I think is not finished.

AP: Do you pay much attention to fan reactions to your choices?

Lucas: Not really. The movies are what the movies are. ... The thing about science-fiction fans and "Star Wars" fans is they're very independent-thinking people. They all think outside the box, but they all have very strong ideas about what should happen, and they think it should be their way. Which is fine, except I'm making the movies, so I should have it my way.

AP: After "Episode III," will you ever revisit "Star Wars"?

Lucas: Ultimately, I'm going to probably move it into television and let other people take it. I'm sort of preserving the feature film part for what has happened and never go there again, but I can go off into various offshoots and things. You know, I've got offshoot novels, I've got offshoot comics. So it's very easy to say, "Well, OK, that's that genre, and I'll find a really talented person to take it and create it." Just like the comic books and the novels are somebody else's way of doing it. I don't mind that. Some of it might turn out to be pretty good. If I get the right people involved, it could be interesting.


Wed Sep 15, 2004


Lucas on Truth in Fantasy & Sci-Fi

(from Wired Magazine 5/05)

The thing I like about fantasy and science fiction is that you can take issues, pull them out of their cultural straitjackets, and talk about them without bringing in folk artifacts that make people get closed minded.

Fahrenheit 9/11. People went nuts. The folk aspects of that film were George Bush or Iraq or 9/11 or -- intense emotional issues that made people put up their blinders and say, "I have an opinion about this, and I'm not going to accept anything else." If you could look at these issues more open-mindedly -- at what's going on with the human mind behind all this, on all sides -- you could have a more interesting conversation, without people screaming, plugging their ears, and walking out of the room like kids do.

And you do that by --
By making the film "about" something other than what it's really about. Which is what mythology is, and what storytelling has always been about. Art is about communicating with people emotionally without the intellectual artifacts of the current situation, and dealing with very emotional issues
:  Life and death, or "I really want to kill my father and have sex with my mother." It's hard to talk about that kind of thing in a family situation without somebody getting upset. But in art, you can deal with those issues. You begin to realize that other people have had the same experience or go down those same paths deep in their minds. Most stories are really told for adolescents, which is why Star Wars was aimed at adolescents. Societies have a whole series of stories to bring adolescents into adulthood by saying, "Don't worry, everybody thinks that way. You're just part of the community. We don't quite talk about it, but if you act on some of your notions, here's what will happen: Zeus will reach down and smash you flat like a bug or the entire Greek army will come and crush your city and burn everybody inside of it, including your heroes." These lessons are continually handed down from generation to generation. I love history, so I create an environment -- in the past, present, or future -- that allows me to tell the story, but in a way that's not incendiary.


Lucas on:




"the idea is that over time, there were new clone strains introduced, and then they even conscripted guys to be Storm Troopers. So it's not just purely clones: It started out as clones, but then it got diluted over the years as they found out they could shanghai guys [more cheaply] than they could build clones."


The nine-film saga:


"That was sort of a figment of the press' imagination.  I sort of played into it, but I probably shouldn't have. The joke I said was, 'It would be fun to come back when everybody's 70 and make a sequel.' But I realized when everybody's 70, I'd also be 70. That idea, now that I'm 60, isn't quite so appealing."

The Fate of Jar Jar:


"He goes back to Naboo and he's a representative," Lucas said of the controversial character, who is barely glimpsed in "Episode III." "He probably stays on the council, he's probably in the senate, because it becomes completely worthless. Senators are just for show, which they talk about in 'Episode IV.' Actually, in 'Episode IV' they get disbanded, so Jar Jar probably goes home to his wife and kids."

The above quotes were part of an interview conducted by


Note: Unpublished or out-of-print Star Wars stories will be taken down if/when officially released/reprinted

Supernatural Encounters

& Cult Encounters


The complete unpublished saga


Tom Veitch's unpublished bridge story between Dark Empire I and II

Heart of the Jedi 

Kenneth Flint's unpublished, previously lost Bantam novel

Abel G. Peña's Skyewalkers

Available exclusively here

Prima Guide Stories

The Tale of the Aiwha Pod

Pax Empirica The Wookiee Annhilation

Escape from Kalist

The complete story by John Morton ("Dak Ralter" in TESB)

Star Wars RPG Magazines

Dynamic (growing) list of digital Star Wars RPG magazines

Once Upon a Galaxy

Comic-strip from TV Times Magazine (Oct 1982)

Battle for Theed

Rare three-page promotional comic by Michael Stackpole

Star Wars Mythos

Sideshow Collectibles cancelled in-universe EU back-stories

Star Wars Missions books

The complete twenty book series from the OOP Scholastic series from 1997-1999

Episode I Adventures

The complete 15 book series from OOP Scholastic series from 1999-2000

The Dread Pirate Xim & The Treasure of Darth Hevel


The follow-up to

The Godform Assumption of StarCrow the Wise

Michael Brennan's tale of ancient evil told in the style of Milton

Adventures in Hyperspace #3



Unpublished third book in the series

in Epub format.

Star Wars Junior Books

The complete twelve book series from the OOP Scholastic series from 1999-2000

Dig Magazine

Rare archaeology magazine containing "The Lost City of Tatooine"

The Coruscant Holonet

Complete Coruscant Holo Net from the UK and US Clone Wars Magazines

Death Troopers Rare Bonus Content



Recovered Messages from the Imperial Prison Barge Purge


Stormtrooper TK-329 Tweets

The Clone Wars Titan Magazine


Vol 6


Star Wars Magazine


Vol 7


The hard-to-find Clone Wars, Rebels, and Star Wars magazine comics

Interviews with Star Wars EU Authors

Clone Wars: Way of the Warrior



OOP personalized Penguin books

Translated Spanish Droids & Ewoks Comics



For the history of this series, go here


Translated Droids & Ewoks Storybooks




For a history of the Plaza Joven series, go here


Droids ReAnimated: Parts 1 & 2



Commentaries by Rich Handley & Abel Pena

Escape from Auren



Droids 1988 Video-Game Prologue

Articles from 2004–2012 removed from the official website's Hyperspace,, and the Star Wars Blog.

Lost Webstrips



Clone Wars Seasons 1-3


Evasive Action webstrips


Take place in the weeks leading up to Revenge of the Sith and after

Rookies: Rendezvous

Rookies: No Turning Back


Take place between Eps IV & V

Fate of the Jedi: Imprint


A Hunter's Fate: Greedo's Tale


Hungarian Han Solo Books




English translations coming soon!



Sourcebooks, supplements & RPG Adventures, including:

The unpublished Adventure Journals #16, 17, and 18




Lost Prelude to Rebellion webcomic

More to come!